FOR GOD'S SAKE, JUST CHOOSE A SELF AND STAND BY IT!

I think that the above title goes perfectly well with this particular stitching work. Although it describes a sense of frustration and it underlines a kind of indecisiveness, at the same time, it also calls out for hope, a need for change and action, a sense of possibility and belonging.

This painting (see the pictures below) is part of a small series and is actually called 'For God's sake, just choose a self - or a side - and stand by it' Part 2 (of 3). The other two paintings (Part 1 and Part 3), not shown here, are quite similar in concept: they are compositions made by pristine areas and thread 'drops' of the same colour, which interchange with each other, to make a mark, assert their presence, be noticed and acknowledged.

I like the thought of empowering such a minute, insignificant, unpredictable component, which is a dot, by allowing it to subdue the pristine (linen) surface, but also bringing out its qualities.

My emphasis, perhaps, is on our own indecisiveness as human beings, who are often afraid of showing the world our differences, or, rather, who we really are, no matter if what makes us so special is something as vulnerable and delicate as a drop of colour.

The background of this painting is made up by sewing together a dark, green cotton fabric with a piece of linen. By using the same colour thread as the fabric, the stitched drops create a contrast to the smooth defined vertical section on the left of the painting. 

Here, intentional and accidental elements juxtapose and for a second, or even longer, this mimicking of pictorial gestures will deceive the spectator's eye. It may be dismissed or overlooked, but what's beyond is purely craft.

                                

Pic 1. 'For God's sake, just choose a self and stand by it!' Part 2 

thread on linen and fabric, 20x20 cm

Pic 2. linen detail

ETHEREAL BEAUTY

If there is anything that sets the mind alive with thoughts of wondrous imagery and tales, it is feathers. They immediately take you to another dimension, transforming your sense of perception. Their presence seems like a portal to another world and, perhaps, in this way, art becomes the tool, which can immortalise such beauty and experience. 

I am so thrilled to have discovered the wonderful, ethereal and magical installations and cabinet works of Kate MccGwire! Her sculptural creations are made by using collected birds feathers. I find them so captivating and moving, despite a certain element of darkness and pain, which is portrayed by the contorted and unhuman nature of the structures.

If I found myself gazing at these eyeless, disfigured, nonetheless, ethereal and gentle creatures for long, I feel I could witness their awakening, listen to their breathing, and see into their soul.

     

                 

"NEW HORIZONS"

11-16 February 2013

It has been another successful show at Room 212!

To everyone who supported me throughout the week: thank you for showing so much interest in my art and ideas, and kindly buying my paintings and smaller works! Please keep following me!

"New Horizons", thread and acrylic on primed canvas, 60x80cm, SOLD

"New Horizon", detail

SOLD TODAY!

5-10 November 2012

Show at Room 212

Untitled, thread and pencil on linen, 90 cm diameter, SOLD

Untitled, detail

SORRY, I AM RIGHT-BRAINED!

This work answers the questions I posed in my previous post. 

I have stitched a self portrait using what seems to be a juxtaposition of two different techniques, however, the red paint-like-drops sit on what was the actual back of my initial piece, which has now become the front. Here, the black thread draws a very sketchy line, but in fact the other side shows the opposite: a very controlled pointillist contour. 

By doing this, I want to bring together the two methods, the unconscious and the conscious stitching, both on the same surface. This allows me to enhance the texture and colour of the upper right hand side of my face and, therefore, draw attention - in a symbolic way - to the functionality of that same side of the brain, where any creative process begins. 

In this case, the eye itself has a very important relevance, for it is, in philosophical and pictorial terms, the connection to the soul; it also places an emphasis on the actual observational process related to creativity. 

Voilà!

Thread on linen (work in progress), thread on linen, 6" hoop

- front -

'La Creatività' (finished), thread on linen, 6" hoop

- back -


Please see my: 'You are two-faced...' post.

SEEING REDS

After looking through Arina Gordienko's work, I suddenly became more aware of the colour red. I also started sketching away and found that we can be a really good source of inspiration to ourselves. Self portraits, in fact, encourage deep observation and reflection. 

Here, I have covered my forehead with some layers of red, following Gordienko's approach, however, despite my understanding of her beliefs in spiritual connectivity with the Universe, my thoughts drifted more towards the idea of creativity itself. In particular, the right side of the brain, which is known to be the most expressive in artistic and emotive terms. 

How would I enhance this whole concept in a self portrait, while adopting the use of thread and drawing?

ARINA'S SILENCE

I have just discovered the evocative work of Russian painter Arina Gordienko, who, as a mature student, gained an MA in Fine Art from Chelsea College of Art and Design, University of the Arts London, in 2008. 

In her self portraits and also her drawings there is the constant use of the colour red, which, as well as representing beauty in Russian folklore, is symbol of connection with the Universe and everything that's in it, according to Buddhist teachings. 

By including it so strongly in her work, she wants to send a message of hope out to the world.

LISTEN TO THE SILENCE, OPUS 2
oil on canvas
170/150cm
2008