Group Exhibition on View
23d February - 23d March 2021
LORETTE C. LUZAJIC, CANADA / CHRISTOPHER MACNEIL, USA / ANASTASIA KOLOSNITSYNA, RUSSIA / SUSAN HENSEL, USA / EKATERINA KUZMINA, RUSSIA / ELISE MENDELLE, UK / EVA ANGELAKA, GERMANY / ZAKIRIA TAHIRIAN, AUSTRALIA / BINGQIN ZHANG, CHINA / ANJA BAMBERG, GERMANY / YAWEN ZHENG, CANADA / ANA ROCHA, BRAZIL / BORA GUNEY, TURKEY / HYUNSUN YOO, AUSTRIA / DANIEL WILLE, AUSTRIA / DARIA PROZOROVA, RUSSIA / JAKUB PASIERKIEWICZ, UK / SVENJA MICHELLE BEHLE, GERMANY / SONIA BEN ACHOURA, UK
This is not the end
It just the start.
A start to a new era.
To a new life,
And probably to a new world.
The long standing theme of my work is “human”. In other words, when I reflected on my curiosity and interests, “human” is always there. When I am among people, I start to think “what is human and human nature?”
While thinking about that, I looked at the place where people were gathered. It was on the calm water surface of a lake that was a full of sea weed, it was between the space dancing waves, it was under blazing the sun. It was on the grass where was full of spirit of spring and it was the moment of an ecstatic sunset before a darkness.
People unite and share their emotion through their common interest in nature. It happen very naturally that is possible without any artificial effort. I observe them all and try to express the composition and order that they make. I hope people not only to see ‘human’ in the beautiful scenery, but also to discover where human comes from what they are in my works.
Every technical and philosophical facet of my art is committed to the application of mixed media, redefining the term to include concepts and ideas as well as tangible physical materials. This cross-genre pasticcio is born from and dependent on collage, which naturally experiments with subliminality, intercontextuality and the unexpected narratives that emerge from both playful and planned juxtapositions. Each work is assembled from an unlimited assortment of tools, themes, genres, and inspirations. A work may be created from acrylic paint, gouache, found papers, chalk pastels, oil sticks, wax crayons, graphite, spray paint, poetry, overheard dialogue, religious ritual, music, mythology, television, and etymology. My expression springs from my insatiable curiosity, bent humour, the intersection of the sacred and inane, and enchantment with the fruits of human innovation and creativity. To this end, an ongoing lifelong study of visual art history, the arts, and the humanities, is essential to my work. From serene, minimalist abstractions to frantic pentimenti imbroglio, my work embraces appropriation and challenges constructs of genre, colour orthodoxy and technical craftsmanship. But the traditional importance of beauty in millennia of art history is a conviction I share. To obtain beauty in every work, I strive to evoke emotion, achieve mastery of composition, and discover new ways of seeing and defining what is beautiful.
I paint in a loose, rhythmical style, stripping back my subjects to reveal only what is necessary for the viewer to interpret the presented scene. My paintings are primarily of women, capturing a private moment in time and posing the question 'what happens next?'. Using textured oil paint creates a connection between the imagined and real world, where people can get lost in my paintings as I offer a window through which to escape and dream.
I have embraced painting throughout lockdown, the challenge of looking inward, as well as forward towards an unknown future. I wish to give people compassion, empathy and understanding through the experience of my art, pushing them to look deeper to see what will emerge. I use my art to draw intensity from simple moments and create beauty from the mundane.
Times change but people rarely do so. With curfews and a deadly disease around the corner; “The New Era” we live in, we stay home and detached.
Thanks to the internet maybe we are even more “outside” than ever before. Travelling through human history and creations of all times. In an era like this, I started to capture visuals that depict human technology in a more familiar way, a way of material nostalgia. Virtual space photography, as a drastically different medium to me, I aimed to capture the spirit of our world and people. Collection of fragments from anyone's memory.
Intimate but non personal photographs, captured in the virtual spaces, aspires viewers to remember and re-experience each and every human emotion they are capable of.
To me, painting is a language, one that is necessary to create meaning where words end and give life a deeper perspective. Everything I create needs to come out as if I had to encounter it and what happens between me and the canvas is something spontaneous, happening in a miracle space that I’m still trying to understand and which leads me to the next piece, every time. It makes me content to be able to communicate to the viewer through my visual language and without further explanations. After all, I consider this a deepest and more sincere way of communication.
In this context, my political position or personal revolution is the creation of positive narratives and mesmerizing spaces against the everyday ugliness projected through the sensationalist media. I am not interested in repeating the problem, but in proposing solutions and giving a positive response to my surroundings; or emphasizing the continuation of life even in dystopia. This creation involves processes of rebirth, which more often than not succeed some kind of destruction and exist in almost every religion, narrative, fairytale and myth. I examine and experience these processes of destruction and rebirth, as my own spiritual practice through painting.
I aim to present the idea of sensitivity and compassion, contrary to a systematized, digitalised and automated society. This is approached by reflecting on childhood and exploring otherworldly, larger than life experiences while the concept of wabi-sabi - the transience and imperfection of things, which also includes some kind of wreckage - runs through all the artworks.
Inevitably, my past studies (MSc in Asian studies) and life experience in Japan and Sweden inform my personality, aesthetics and way of working. As for the future evolution of my research and art, it unequivocally goes along with my personal evolution as a human and artist. However, I am interested in exploring more mediums, such as installations, performance and virtual space.
As an artist, I get inspirations from nature to explore the relationship between nature and human beings, and expresses environmental concerns and animal rights. Living in the alluring earth, I believe that we have responsibility to find a sustainable way to take care of this planet. I hope that my work can help others be more respect nonhuman species and nature.
In art I always was seeking for the opportunity to make the viewer feel the picture as something alive, to feel the presence. But not only with the help of classical techniques, or not only with the help of it, but more through associative, subconscious or intuitive.
Using various objects, fabrics, textures, you can create something you can touch to change, something that is exposed to the environment, natural and aging. And that can revive the canvas.
It was always paradoxical for me to feel impressionism more alive comparing to classical realism, I found the key to this answer in Alla prima techniques emotions and admiration are instantly imprinted on the canvas.
Therefore, I try to create work as quick as possible so as not to move out to another environment. To create a good picture you have to live it, survive it.
Even if the picture is not completed, then it will provide an opportunity viewer's imagination.
Everything you can imagine is real.- Picasso.
At recent moment I am working on a new direction "Anrealism".
Style contains old masters fresco painting techniques and contemporary vision. Half sculpture ,half painting.