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A practice has emerged from the struggle between painting and sculpture. The practice seeks to create a balanced chaos that forces formal and informal elements together to create an imbalanced balance. Formal aspects such as the bought pipes, hand-crafted and decorative elements adorn the piece and upset the formal structure on which they are placed. Masculine aspects such as the grid-like structures and feminine elements such as the fluid and chaotic disruptions are apparent within the work, placed only to interrupt each other
I believe humour in art can help break down the barriers between artist and viewer allowing a conversation with the work to flow freely, where viable and appropriate. Through multidiscipline social and historical concerns are addressed in my practice, using such media as film, collage, ceramics, needlework and paint to confront issues of female identity. My intentions are for the viewer to engage with my work, to be informed and for them to learn through art not words.
The work is representational of the feelings and activities in the brain that are affected due to neurological and psychological illness. The artist approaches the subject from different angles, giving a wider view of the physical and mental problems that are caused by it. She is particularly interested in creating similar feelings of confusion and frustration that a sufferer would feel. The use of video, text and audio-wave images primarily dominate her practice at present which has allowed her to stimulate feelings within the viewer, without forcing anything onto them.
Since I remember I have supported the rights of women and admired the courage of feminists. The topic is about the multiple roles of women past and present. I have been interested in the history of feminism and the work of feminist artists. I collected photographs from family members, all of them showing a woman in a certain role, such as motherhood and housewife. I have applied the silkscreen method to my photographs, in an effort to make them more suggestive. I decided to play with colour in the photos so as to communicate better the feelings women had in certain roles through the years. The influence of Pop Art is shown through my choice of these colours. This re-creates new images which combine simplicity and depth of meaning as each colour reflects certain feelings
I started studying Fine Art in the early 2005 in Russia. My works then were traditional pictures using oil on canvas or human anatomy and other objects. Two years later I decided to continue my studies at Wolverhampton University. There I decided to focus on Abstract Art. I started reading books about abstract art and artists, to get some ideas. I always liked drawing lines and other abstract objects and I believe it is a good way for an artist to express himself. Right now I continue my work on Abstract Art. In the past two years I made more than 20 works on abstract art and I will continue doing it because is something I really love
My work involves the construction of responsive environments in the form of interactive sound installation. The work focuses on the tensions between perception, form and sound. My approach is relational, the central concern involves the development of temporal, material and sonic encounters with the public, creating a dialogue between the art and the participant. I'm interested in time-based practice, relationalism and the human conditio
I constantly look for inspiration through the camera lens, because photographs are a basis for my compositions. When studying a photograph it is apparent that contrast alters when blowing up and stretching a small photo to gain the effect of a TV screen, thus creating lots of fresh empty space around the subject/figure. I paint portraits of people I am connected with, as studying people around me is a part of my everyday life, making the painting more personal. Bright and warm colours used in figures are another contrast for empty, cooler and ‘’blue’’ backgrounds. I paint with one and two inch brushes and Alkaflow to get the effects of blurred empty and smooth surfaces as a stage for my contrasted detailed creatures, shadows and reflections.
My practice is centred on the notion that an artist’s movement, when making work, is more important than the aesthetic value of the finished piece. This has lead to the production of numerous films in which two men construct an object. However, the purpose of the object was never shown to the spectator. This was done to try and capture the movement or arena in which the movement takes place. As my work progressed I tried to create this arena outside the television monitor and in-between multiple screens. This has lead to the exploration of internal space between two televisions, extremely close together, and the external space when the televisions are further apar
For first time in a while I sat and thought about what my practice means to me. Wanting a fresh approach, I had four large perspex trays made. Looking at them for the first time I thought they were beautiful in their own 'plasticky' way. I want these boxes to be really easily accessible for the viewer to relate to the 'space' within them. Through stripping my work back I rediscovered the allure of painting. The marks inside these boxes are a little like metaphorical 'footprints in the snow' ...like when you're out walking, you're aware that someone's been there. That's important to me, that the viewer walks away feeling like they've taken an uninhibited stroll.
I work in printmaking and painting and have come to embrace the combination of the two media. I move back and forth between printing and painting, sometimes combining both on the same surface. The excitement of the moment when a print is revealed either from a silk screen or a plate never diminishes. If a print has interesting results I will use it as a reference for a painting and produce work that, although is physically separate, is still inextricably related
My current work entitled the ‘Flayer’ series (a combination again of the words fluid and layer) is exploring the interaction, reaction and reflection of organic substances including water, oil and petro
My work is concerned with the ideas of spatial awareness, the balance and the difference between two or more things. Space is a picture of movement, of process or a picture of progress. Using simple found objects and images in this series of works, I have tried to demonstrate ordinary and everyday situations and issues which become socially and powerfully loaded. I am creating videos because I want to attract the spectator’s attention! However, my work seems minimal, humorous and boring with a point near to nothing but always in order to create a spectacle. This concept has driven me forward to try and pass this feeling within the spectator through installation art and demonstrate them in a public space without creating boundaries between the space, the artwork and the spectato
The drawings that I produce have been developed from photographs that I take of the city and urban surroundings. My practice relies heavily upon photography, but the shift to drawing has brought a different focus to the work. The simple look I feel is more appealing than a perfectly drawn piece, every drawn line is visible for them to see. The photographic images portray a sense of absence; at first I felt this was not obvious enough through the drawings, but after some rearrangement and experimentation the original idea became strong enough for the drawings to stand alone.
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I am interested in the space in which objects exist and move. By experimenting with materials, scale, light and shadow and the use of animation I explore how these can affect our perception of space. Also how the use of projection, mirrors and reflection can disorientate the viewer. Considering display, context and the construction of an environment are central to my work. I want to explore the idea of a constantly changing fluid space, its materiality, rather than it being a medium defined only by the objects within it, and how we can begin to change our thinking about space
My work tries to explore the space/time relationships between the artist, the object and the observer. We all see things differently and I hope that the work gives an insight to what I see as I analyse the possibilities of MDF as a materia
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Having in mind serenity and the feeling to break free from routine and method, my work focuses on a synthesis of personal feelings and thoughts. In this work I am dealing with space, mark, form and shape, and the positive and negative relationship around them and the restrictions they grasp. This contemplation is what directed me to my practice; the freedom to create shapes freely and spontaneously using ‘monochrome’ colours to form shapes around the subject.
I was always interested in art, especially in paintings that make the viewer think about them or create puzzle and a shock. For a year now I have been interested in something that was new for me- Abstract paintings, which are interesting because of the way in which colours mix together and create universes of meaning that are always open to new interpretation. Colours are not the only object of my fascination with abstract works. It is the different shapes, lines, squares and circles of colours that are equally important. The brush follows a path on the canvas carrying with it emotions and intense feelings. In my painting I am giving emphasis to shapes and colour. I want to show how they can affect each other.
Art is a form of communication. Through art I can communicate in a better way with others, rather than just making use of a language. My work centres upon the use of shapes and colours in order to give messages to other people or express my feelings. This sometimes could be by painting realistic or, if needed, in another style of painting such as abstract painting. I did try many different styles but, personally, I find myself to be more skilled on the realistic art.
Why art? Why abstract? Why that way…? Art expresses so much for me; I use art to express myself, my life, my spirit. In the world of art it is like I live in an illusion of my own life. I started by drawing landscapes but the symphony of abstraction takes me away from it.I put all my thoughts down onto canvas in my own way and used significant colours.Through my paintings, I portray the process that I have difficulty expressing and I feel I have finally managed to freely communicate my loss. Which brings me to the concept of my recent practice, which I have dedicated to the sentiment of ‘human loss’.
Through darkness cometh light articulates our underlying confusion of the unknown and in particular the unknown of death and grief. You as the participant are your own boundaries within this piece, whether you choose to take the first step or look from afar is a metaphor I ask you to think about.
As the observer you are free to wander around its walls of fabric and free to reflect on your own boundaries of grief. The piece’s lack of colour allows the darkness of the imagination to roam, striking on our ability to disregard negative emotion
My specific work is about portrait paintings. I started to paint with rich colouration and I played with the contrast and shadows. In these paintings I experimented with flat backgrounds which contrasted against the expressive brushwork in the figure. In December 2008 I visited Amsterdam and was very excited by the Rembrandt paintings. I like the dramatic use of light and shadows. In my current work I have attempted to re-create the way light hits a figure but using contemporary models and approaches to painting.