ARTiculAction Art Review - Special Issuue Aug. 2016 | Page 96

ICUL CTION
C o n t e m p o r a r y

A r t

Lillian Abel

R e v i e w

Special Issue

I no longer use brushes to make the
work. The palette knife is used to make
the present work. The hard surface of
wood or panel allows the choice of hard
to light pressure in the application of the
paint. Turpentine is the only medium
used in the process. The one, two or
three colors are sometimes directly from
the paint tube. Most of the time I will mix
the colors to produce the effect I seek
for the painting.
For this special issue of ARTiculAction
we have selected Perpetual Cadence, a
body of works from your recent
production that our readers have
already started to get to know in the
introductory pages of this article: when
walking our readers through the
genesis of this project we would like to
ask you how do you select a media in
order to convey the ideas that you
explore. In particular, how much
important is the relationship between
its tactile feature in your choice of
ceramics as material?

Working in clay is another way to
meditation. The malleability of clay
allows freedom in experimentation to
find forms and layers. It’s not a search
for the end piece, more of a discovery of
the outcome, which, at times is
unpredictable in the making of the piece
as it grows and changes.
Landscape is a recurrent theme of your
work: your organic exploration of
Nature seems to unveil the relationship
between phenomenological experience
and perceptual process in the way you
convey such lively abstract feature in
your pieces, as Antarctica. Your
practice could be also considered as a
successful attempt to create a bodies of

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