ARTiculAction Art Review - Special Issuue Aug. 2016 | Page 107

Lillian Abel

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Special Issue

these apparently opposite levels of
consciousness?

Thinking too much destroys the creative
flow. Feeling too much does the same.
There needs to be balance. The conscious
and subconscious exist together at all
times, however, when creating, the
subconscious has more control than the
conscious mind. When I see surprises in
the work it appears I am in touch with my
subconscious, perhaps even universal
consciousness. When I contemplate the
work after its completion, finding forms not
particularly remembered and experiencing
them change and move to something else
as I watch them creates in me the same
wonder experienced in nature. Every time I
look at the completed work there is always
something new to find. I am in a
meditative state when I’m painting, thus
the question of; where is the paintings
origin and how did it come to its current
state? The next question would be “How
do I know when the painting is completed?
It’s knowing and trusting when to stop.
Your organic work to deconstruct
perception also accomplishes an effective
investigation about the relationship
between the phenomenon we perceive
from the outside and personal
imagination, due to the way we reelaborate our personal substratum and
the universal imagery we draw from.
What is the role of memory in your work?
We are particularly interested in how you
consider memory and its evokative role in
perceptual process.

The Memory of a thing or a place is always
distorted by our continued remembering of
it. Conversely, the energy and sensations
of nature remain with us always as strong

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