Not Random Art - Page 52

ID VESTI

NULLAM

Quisque vitae rutrum mi. Aliquam ac erat at neque accumsan tristique. Praesent id tempor nisl.

Nunc erat velit, aliquet non consectetur non, placerat eget sapien. Donec pellentesque, enim ac gravida congue, lorem velit aliquet turpis, non adipiscing mauris dui at nisi. Nulla lobortis sagittis ligula, nec tristique nisl iaculis a. Proin cursus mi a nunc bibendum fermentum. Integer ultricies arcu et nunc interdum id sagittis mauris pharetra. Duis elementum aliquam eros, nec egestas orci laoreet eget. Nunc erat velit, aliquet non consectetur non, placerat eget sapien. Duis elementum aliquam eros, nec egestas orci laoreet eget. Nunc erat velit, aliquet non consectetur non, placerat eget sapien. Duis elementum aliquam eros, nec egestas orci laoreet eget. Nunc erat velit, aliquet non.Fusce sit amet sem nibh. Phasellus rhoncus imperdiet egestas.

Nunc erat velit, aliquet non consectetur non, placerat eget sapien. Duis elementum aliquam eros,

Maecenas elit nunc, porttitor non tincidunt nec, scelerisque vel dolor. Suspendisse consectetur ma-uris vitae odio semper euismod. Curabitur in enim augue. Curabitur vel tincidunt odio. Integer volu-tpat tempus nunc, sed molestie velit pellentesque eu lacinia purus.

“Praesent imperdiet nunc et sem dignissim elementum. Donec lobortis congue fringilla. Donec justo consequat ornare sodales.

Nunc posuere mattis mi, ut facilisis ligula accumsan vel. In consectetur accumsan diam, eget porttitor justo luctus id. “

14

In my case dreams are undoubtedly the base of a deep reflection on a topic. I consider myself a very spiritual person, and I believe that all of our answers stay within us. Our unconscious somehow arranges the majority of our decisions.

How do you see the relationship between emotional and intellectual perception of your work?In particular, how much do you consider the immersive nature of the viewing experience?

As I’ve mentioned before, they create relevant links

Over the years, your works have been exhibited, among others in Barcelona and Rome. We would like to pose a question about the nature of the relationship of your art with your audience. Do you consider the issue of audience reception as being a crucial component of your decision-making process, in terms of what type of language is used in a particular context?

Of course, besides Barcelona and Rome, my work has taken part in numerous exhibitions in Europe: Portugal, Poland, Germany, and Belgium. I believe that working only with the viewer's attention would be very commercial. I do not hide, however, that a viewer who creates the same answers in her/his life will find my work interesting, helpful, inspirational, or maybe even feel some type of catharsis. Conservative groups of people, on the other hand, will feel apprehensive, I suspect. Those who are looking to contemplate pure beauty will not respond positively to the reception of my art. But I guess they will find some kind of art who will feed their needs. My work creates uncertainty and ambiguity. And I feel like following in this direction.

Being a woman, I do not feel obliged to paint beautiful flowers or romantic landscapes. There are so many topics that have not been told by female artists due to stigma. I feel obliged to talk about these topics such as menstruation, blood (shown in a natural and beautiful way), and enjoyable sex. These can be quite like stories with a sense of humor but about the seriousness of being a woman. I consider this art as only mine, one that belongs to me, and one that I can identify with. Where anything can happen.

Thanks a lot for your time and for sharing your thoughts, Agata. Finally, would you like to tell us readers something about your future projects? How do you see your work evolving?

I just started a collaboration with one gallery in Rome and there is a possibility of future projects in Shanghai.

I hope you will see my work very soon which is inspired by Marius- a very important person to me for the past 2 years.

As a summary, I believe that private life and art creation are undoubtedly an inspirational source in a continuous dialogue.

Your art seems to be a quest for “balance between abstract and realism, manipulating lines and colours to create a kaleidoscopic feel while remain a meticulous sense of order using acrylic and mixed media.” What is the role of technique in your practice? In particular are there any constraints or rules that you follow when creating?

The very beginnings of inspiration for a new painting is to look for a pose. I will often troll through images of Avant Garde fashion photography, ballet, dance, naked portraiture and/or body-scapes to find just the right one. Once I have the pose that strikes me (YES!) I take it from there, drawing up a rough sketch adding patterns and geometrical shapes which contrast the lines of the main silhouette.

From there I sketch my plan on to a blank canvas (always making changes and additions to the new layout). Once I am happy with that I start to add colour. My fine lines are all executed without masking; using a small brush, even hand, and steadfast concentration. Then I apply layer upon layer of colour until I achieve beautiful unyielding saturation and impeccable print-like quality.

How do you see the relationship between emotional and intellectual perception of your work? In particular, how much do you consider the immersive nature of the viewing experience?

The emotional and intellectual relationship of my work always begin as two very seperate things. At first glance, my art may seem frivolously aesthetic .The colours are vibrant, and deliciously arresting. But then you look a little closer, even through the simplicity of the block colour and basic lines of geometry and pattern, there is always a story within… and that is when the emotional and intellectual perception of my art merge and the true beauty is discovered.

olted by the Thought of Known Places… Sweeney Astray” by Joan Jonas was one of the first performance installations that really made a huge impact on me. I was living in Paris during this time, in the early 90s, with a lot of influences from different cultures. It became the starting point of my own work. Joan Jonas practice has explored ways of seeing, the rhythms of ritual, and the authority of objects and gestures. Jonas continues to find new layers of meanings in themes and questions of gender and identity that have fueled her art for over thirty years. She is a great inspiration still today.

It is impossible to avoid the topic of body consciousness, embodied emotions and the image of body and personal identity that we see in your practice. What is the function of the identity appearing in your artworks – is it a canvas used to present your ideas or rather the subject of the art? What inspired you to use this as a theme in your practice?

I have been developing my visual imagery since I began studying art and film - from conceptual thinking, composition, using light and colour in different ways, through all the different techniques I've utilised over the years in my work and in my collaborations with stage artists such as dancers, musicians and actors. My approach is always developing through exploring these things. Visual imagery in essence is your way of experiencing what you see and transforming it. This is my world that I want to share and express through my art. The body consciousness, embodied emotions and the image of body and personal identity is part of this visual imagery, the emotional essence in my practice. Always present and always developing in different themes and projects.

Marina Abramovic stated: You see, what is my purpose of performance artist is to stage certain difficulties and stage the fear the primordial fear of pain, of dying, all of

which we have in our lives, and then stage them in front of audience and go through them and tell the audience, 'I'm your mirror; if I can do this in my life, you can do it in yours.'Can you relate anyhow to these words?

de-identify myself, by losing my roots, my culture, I would be very happy. Unfortunately the human being does'nt choose the place where he is born. He grows up in a society that automatically identifies, through education, culture, family... More than ever I think it's more important to go on a way of self-knowledge with the aim to meet “the other”.. This other without which we can not exist. It's the same for the artist. It is more important for me to be focused on my practice than to try to define it according to esthetic criteria of identification. It's probably the reason i like to remember the painter Matisse who said or wrote that an artist must never be prisoner of himself, prisoner of a style, prisoner of a reputation.

Would you like to tell us something about your background? Could you talk a little about experiences that has influence the way you currently relate yourself to your artworks?

All my way is influenced by encounterings.

It began by the meeting with my professor of literature at school. More than giving French or Literature classes, she brought us to discover texts, movies, plays, visual artworks and to think about on what we saw or read.. Thanks to her that I met Pierre Vincke, a theatredirector who was worjink in the tradition of Grotowski ... Both of them have led me to go to theater school. In this school I had meetings. Meetings with artists but also and especially human beings that made me discover. I always need o discover rather than to master a practice. It's probably the reason my encounter with Monica Klingler and Boris Nieslony was decisive for me and led me on the path of Performance Art which is a form still difficult to define. Each performance artist has a different definition of what it is...

Could you identify a specific artwork that has influenced your artistic practice or has impacted the way you think about race and ethnic identity in visual culture?

No I don't have a specific artwork that has influenced my artistic practise but many.

I'm influenced by some philsophers as well as poets or musicians or dancers or visual artists but also by some places or landscapes or atmospheres ... For some years, I was used for example to go to India where I was used to follow some traditionnal muscians or to learn bharatanatyam and practice vipassana meditation... Of course this experience has impacted my art work.... This brought me to think and work differently... My experience in India brought me to discover traditionnal strong art and paradoxally to the way of Performance Art. But there I see one common point: to make no separation between art and life and to be here and now, without projection on the future.

It's difficult for me to speak about race and ethnic identity. But I can say that today we miss more and more this notion of “to be here and now” which is more present in some cultures ... By practising Performance Art, it's my way to be connected to this way of thinking. And even in this field actually it's more and more difficult. The society and the art world brings us more and more to plan in advance, to define our work, more than to do. Just to do. To do what we deeply need.

And of course, my encountering with Black Market International and later the notion of Open Source or Open session via PAErsche have also a big impact on my work. When we go on that, each of us perform by sharing time and space but without trying to convince each other on some common way. This is for me a wonderfull way how we can meet each other, regardless of our origin, our race or our “identity”...

Many of your works carry an autobiographical message. Since you transform your experiences into your artwork, we are curious, what is the role of memory in your artistic productions? We are particularly interested if you try to achieve a faithful translation of your previous experiences or if you rather use memory as starting point to create.

My memory is clearly a starting point to create. I don't have any autobiographical message. I use my personnal experience ( what I feel , what I see, what I learn, what I ear...) to work. It's a motor or a material. I'm not able to paint, so I can't do something with red or white or yellow or black colors. All I have is life, a body alive. And I need to do something with that...

My sensation about life sometimes is too intense then I need to transform this intensity in some action. Some artistic action... If people can take something from this action this is great... but I don't want to give them “a specific message” or to control the translation of my experience.