ART Habens Art Review // Special Issue ART Habens Art Review - Special Issue #89 - Page 137

Irena Romendik
ART Habens
movement drawings I play with both time and a path , and you can see it as an invitation to mental dance rather than walk on a straight line . When I draw a flower , I become an ant travelling on a petal , tripping on a bumpy anthers and drinking sweet juices from a stigma , while being a human desperately trying to translate intricate smells with black ink on a piece of paper -- inconceivable translation . And even though most of what I try to communicate is innately non recordable , something in between holds a shape of a negative space previously occupied by the thing and at least mirrors a shadow of an incommunicable . And as Orpheus -- it ’ s probably better not to look back to it , because of its quantum quality to dissolve on touch .
I avoid symmetry and static harmony , and prefer balancing act to stability of the completion , because I invite my viewer to enjoy the dance of time and flow of movement . Stillness for me is a rare nervous interval before the next leap -- always on a tip of a toe , ready to take over . I believe that it ’ s impossible to “ finish ” a painting . Even the ultimate stillness of death commences new beginnings . For example , I was trying to catch it in my portrait of a lamb ( https :// www . flickr . com / photos / voidit / album s / 72157652053749035 ) far beyond the horizon , both in front and behind the viewer , and unobtrusively invites one to take a journey over that path . I find Michel Foucault ’ s description of Las Meninas very insightful in this regard . In my
I consider a physical object of an artwork as an overture of a compressed energy that can unfold possibility of sharing moments of awareness . I don ’ t abide to any uniform structure in my works , neither I follow pure intuition . Rather , I combine multiple factors , including all surroundings , the dance , bodies , music , memories , associations , composer , my own humanity , weather , temperature , city , materiality of the floor , and everything really . The only retaining factor is probably that I ’ m trying to depict
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Special Issue
Irena Romendik ART Habens movement drawings I play with both time and a path, and you can see it as an invitation to mental dance rather than walk on a straight line. When I draw a flower, I become an ant travelling on a petal, tripping on a bumpy anthers and drinking sweet juices from a stigma, while being a human desperately trying to translate intricate smells with black ink on a piece of paper -- inconceivable translation. And even though most of what I try to communicate is innately non recordable, something in between holds a shape of a negative space previously occupied by the thing and at least mirrors a shadow of an incommunicable. And as Orpheus -- it’s probably better not to look back to it, because of its quantum quality to dissolve on touch. I avoid symmetry and static harmony, and prefer balancing act to stability of the completion, because I invite my viewer to enjoy the dance of time and flow of movement. Stillness for me is a rare nervous interval before the next leap -- always on a tip of a toe, ready to take over. I believe that it’s impossible to “finish” a painting. Even the ultimate stillness of death commences new beginnings. For example, I was trying to catch it in my portrait of a lamb (https://www.flickr.com/photos/voidit/album s/72157652053749035) I consider a physical object of an artwork as an overture of a compressed energy that can unfold possibility of sharing moments of awareness. I don’t abide to any uniform structure in my works, neither I follow pure intuition. Rather, I combine multiple factors, including all surroundings, the dance, bodies, music, memories, associations, composer, my own hu X[]KX]\[\\]\K]KX]\X[]HوH܋[]\][X[KHۛH]Z[[™X܈\ؘXH]x&[HZ[\X\^[ۙHܚ^ۋ[۝[Z[HY]\[[؝\][H[]\›ۙHZHH\^Hݙ\]] H[ZX[X][8&\\ܚ\[ۈو\Y[[\\H[Y[[\Y\ [^BB XX[\Y