This body of work deals with the modern obsession with self-reflection. Born in egocentrism and fueled by vanity and other surface based adulations; the work both praises and critiques the image by creating the necessary conditions to lure the spectator into the frame and thus complete the painting in a symbiotic relation.
The titles of the various pieces play along the necessity to reflect in order to truly be accomplished as an image; thus embracing the ultimate post-modernist theories of artist and public validation and consideration as equally considerable.
Formally the paint constructs a high definite contrast to the surface, balancing the nature of the mirror steel with warmth and matter.
By observing one’s own reflection in the work the spectator not only completes the mission of the piece but is ideally confronted with a need of deeper reflection at an existentialist level, decontextualizing the status quo once again.
Religious, feminine, delicate, traditional, sensual; difficult to decide which would be more accurate, if any at all.
I view lace differently, I began investigating its use as a glaze, a semi-transparent entity which could cover partially the information that preceded it. One characteristic is definite, its delicacy; in clear contradiction to the opaque and solid metal underneath.
This contradiction is what gives birth to the series. I abhor the notion of mean painting like men and women painting like women; art should go beyond definition and finds its place in a universal manifestation. Gender, like any other distinction of the artist, should be irrelevant; yet, the public and the market love to identify factors. These definitions and barriers only limit the work, which would rather be free to explore the possibilities of materials, color, reflection, and overall nature of its message.
The idea behind this body of work was simple, quite literally simplicity. As it progressed it began looking to a mélange of approaches, as art normally does; initially it considered Islamic seamless patterns as its origin, a beautiful and subtle continuation into space; then it began to add and construct its own form. The pattern is born as the base, the eye catcher, above it come payers of glazing, and eventually geometric slashes cut into the metal, thus giving birth to a contradicting geometry. Which is the one to follow now? It is inconsequential; any direction will do.
Arte Povera reacted against the establishment of methods and materials; but breaking that status quo today becomes more improbable, and arduous. The cuts origin is erotic in nature, then becomes geometric and more complex, but occasionally returns to eroticism. It is not for its own sake but rather to challenge the tradition of the seamless pattern itself, cemented in the suffocating limit of religious imposition. The metal and its component are now free and unrestricted by dogma.
The print has been a long lasting series , it has explored various combinations and applications, from opaque to translucent, warm and cool, a wide spectrum approaches and materials. It investigates with individuality, not identity as many have believed over the years. Identity means little…everyone has one yet it establishes nothing. Individuality is the progression that must be earned, it is not automatic, therefore, may or may not be.
Social, political, economic direction are all profound components of the work. Color is another factor, the appealing one, luring the viewer into its realm, and once again the combination is unclear and indefinite, it is an expression of many contradicting dimensions; yet coherent in its lack of certainty.
These pieces are a way to get back to the basics. Just two main elements, surface and paint; the carving serves as a way to emphasize the surface, whereas quite obviously the layers of paint provide the colorful impact. It is imperative that the layers of paint be translucent in order to allow exposure of the imagery below. This raises the question of surface and strata, and just which and when it becomes of relevance to the final interpretation of the piece.
Carving in between layers of color allows for a smooth rich final texture, untouched by any further mark making; delicate and very fragile of course.
Don’t let the title misguide you, this work is not the celebration of neo classical work; rather it is the reinterpretation and sad realization and confirmation of subject matter. What was real then is real now, as if hundreds of years of history, wars, life and death, had contributed nothing in the development of our species.
It is a doleful thought, and impotent realization. Imagery can therefore be manipulated and reinterpreted to discuss anachronistically any subject matter; rendering truly immortal in its actuality.