Not Random Art - Page 106

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14

Along with the development of my art and artistic activity as well as the passion for the history of art, I had the opportunity to experience many fantastic artworks that made a great impression on me. However, I would like to mention the most important one – a primary experience from my childhood. In my family home we never had any art albums. Despite that fact, by some wild chance I always used to pay attention to the unusual. As a several-year-old child I completely intuitively created my own "art collection". At that time my parents had a subscription of "Reader's digest", which always featured a reproduction of a work of art on its back cover. I used to tear the back cover away and when I had a nice collection of those, I placed all my favorites in an order. Now I cannot recall the pieces on lower positions, but the number one was Kazimir Malevich with his painting "Red House". After many years I was really surprised to find this reproduction as a bookmark in one of books – then all those memories came back to me. This experience explained a lot to me as now I value the works and heritage of Kazimir Malevich as well as the entire trend of Russian Constructivism, the avant-garde of the interwar period in art and architecture. Equally important to me are the current trends in visual arts and architecture, starting from the end of World War II until today. I am passionate about broadening my knowledge in this subject, especially with regard to the trends and artists of my interest, and sometimes I come back to fascinating things I have forgotten about so as to learn about myself in a new way. Whenever I can, I try to visit exhibitions and museums with modern art during various journeys. Each of such journeys carries new inspirations and sensations. The experience of open spaces, substance of the city or architecture of the place I visited may have a significant influence on the later creative process and my subsequent works.

What is the role of technique in your practice? In particular are there any constraints or rules that you follow when creating?

In my creative practice I like to use modern technology as a tool to achieve to the main goal. I am also a photographer and I very often use the camera to capture the places I visited together with all ideas and ephemeral concepts associated with particular images or experiences. I use graphics software for professional photo editing and, on some occasions, visualizing my ideas. However, to me the whole magic and pleasure of creation come from the traditional work methods – sketching and painting. I am interested in the painting process being a result of planned procedures combined with uncontrolled events – accidental gestures, experiments with the material and environment, expressive shading and glazing. Constraints or rules that I follow when creating? I obviously need inner peace and stability in the world around me, which might stand in contrast to the common belief that art is created only in elation or in the turmoil of life. That does not work for me. My art relies on thinking, reading and searching, and these three elements require focus and peace of mind. When painting, I am inspired by photographic materials found on the Internet, in books, press as well as pictures captured by myself on a street or during a journey. I identify with the modern form of flaneurism in the conviction that in all sorts of places, situations and circumstances we can notice something memorable, something that intrigues us and becomes the foundation for contemplation, sketches and ultimately a concept for a new work or a series of paintings. All observed or read materials theoretically shape my imagination from the architectural standpoint. When working on a painting, everything gets resolved as I progress, becoming a synthesis of observations and experiences I carry within myself.

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?

My creativeness is stretched between two extremes – the rigor of geometric forms and freedom of expressive gesture painting. Two different worlds: rational, which reduces the multitude of forms to the simple and the minimal being a result of cool calculation, and passionate, which rests on feelings, intuition, free gesture. I move between these two seemingly extreme approaches of depicting the world. One of the basic categories I refer to is the place. The prominent patches of color in my paintings bring to mind elements of the urban landscape with the emphasis on architecture – often balancing on the verge of reality, other times being completely abstract. The planes come out from various points and run in directions that do not result from the logical structure and composition. It is not chaos caused by an expressive painting explosion. The whole composition is connected through the rigor of perspective graphs and studies of three dimensional shapes. I love creating phantasmagoric cities, just as Italo Calvino in his famous poetic treatise Invisible cities. In those non-cities the reality is an echo while the entire construction is generated by the imagination and emotions. A place seems to be something abstract and intangible, yet it is still rooted in reality. The spatial form, silhouette, shape, material or construction solutions are interesting to me as visual signs or quotes, based on which a composition is created. Ultimately, it resembles a dream space. I am a modern flaneur who observes and captures the pulse of the city while painting is a parallel space for experiencing the world.

My aim is to drag the observer into this world, make them feel as if they were dreaming and staring sentimentally at distant points in the horizon by simply looking at particular spots in the meeting point of the landscapes. At the same time, I am always very curious about the reception of my works and appreciate any feedback, since everyone can see something different in them. This is how the infinity effect works – it is a metaphor of desires, journeys into the unknown, exploring imagined spaces. It portrays stress, internal contradictions and unacknowledged aspirations. Pictured journeys into somewhere far away.

hat you want to show of your intentions. So, in order to do that, you have to be prepared in the artistic discipline and in the medium, that you have to learn, so that an artist or a painter or a designer can build through manual techniques , a painter or designer has different possibilities of interpretation.

Each technique must be studied in order to understand its meaning. Michelangelo, Picasso and Bacon are the painters that I love, they have focused their artistic expression in the study of the human figure , and especially every deep aspect of the Aristotelian view of the world, but my interest is, above all in the feelings that a human being receives from his senses.

It becomes for me the same meaning of the painting, and everything that I do on the paper or canvas, is represented by the sign, that expresses the final product of the artistic work. Meaning and significance are mixed in the representation of a very fragmented world, confused and disoriented. The computer screen or smartphone is a multiplier of images, and I sometimes wonder, if they need also my image. I answer yes, they need, because the representation, in this limited space in height and length, but not in depth, has to be investigated, in order to represent the vision we have of this fragmentation, this deafening silence of humanity overwhelmed by events and immersed in a seemingly unknown context.

For this representation, I choose different ways , I paint a natural or urban landscape, an abstract painting, or something it can remind a sort of surrealism, because using the painting as a medium, I can represent the different souls of nature around me.

Each technique expresses the representation. And the representation expresses the passage of time.

The relationship between my hand, the medium and the surface, a result obtained by means of the time, that I dedicate to the revelation of what is my summary on the colors and shapes, and through what I have seen and undertaken as, then I transfer it on canvas or sheet of paper. Time is the true protagonist, represented by the technique of the whole represented image.

My paintings and my drawings to be appreciated in all their fullness, should be observed very closely, in the same way that I conceived them. You have to put the viewer in front of the work and let him to explore it, like you are in a place and if you want to see everything that is around, you have to move your eyes in every direction.

I suggest this way to view and appreciate every work, but especially mine, whatever the way and the mean used.

What in your opinion defines a work of art? And moreover, what could be the features that mark the contemporariness of an artwork?

II must admit I find this question incredibly hard! What defines a work of art??? I keep coming back to “originality” and “passion”. I think if someone has created something from scratch with his own hands, with passion, with heart and soul, whatever and wherever that spiritedness and desire stems from, no matter how beautiful or how ugly, you could call it art.

As for the contemporariness of an artwork, I don’t necessary believe there is a specific feature which defines the work modern. All art at one point in time was “contemporary” in comparison to what came before it.

Is there any particular way you would describe your identity as an artist but also as a human being in dynamically changing, unstable times? In particular, does your cultural substratum/identity form your aesthetics?

Definitely being female in this day and age influences my aesthetics. I guess you could say I am a feminist artist, not the bra burning, sign wielding type, but I certainly believe in equality for women, particularly in art. I empathise with women involved in the art world of history past and am awed by their courage and how far female artists have fought to shine through… but it still isn’t over yet. Through my art I believe I am conveying a woman's sense of self. Her individualism, her beauty, sensuality and mystery, her sexuality, strength and heart.

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.