abstraction of senses through liminal space
“What is important now is to recover our senses. We must learn to See more, to Hear more, to Feel more” – Susan Sontag
Nostalgia combines the Greek words “nostos” (homecoming) and “algos” (pain).
How can a painting define and explore a visceral space of transition and reflection on individual and collective trauma and nostalgia? The painting series is a moving of private sensation into public realm: lines, colors, and texture navigate me through visible forms of closeness, and of hope of trying to grasp and hold onto a sentiment of shared space. Everyone experiences trauma within a lifetime, and by sharing through an opening of space, the painting can exist as a way of understanding each other through pain. Living with the coronavirus pandemic, we’re all going through it, yet we’re all experiencing it differently. Remembering the past can be a way of understanding that that this very present will also eventually pass. Nostalgia is a way of reflection but also a way of believing in the future and recreating our pathways through a dynamic balancing act.
The same two lines never exist, just like nature, they change continuously. Every line has its own personality, and singularity, growing steadily out of a center force; collecting energy on its path, a particular nerve and sensibility develops. It points me into a flow of everchanging directions. However, trying to shape a line, or yearning for the before, will only throw me off balance. Just like waves or a new day, I may never fully understand where one breaks or ends as I draw my attention outwards into unknown territories.
The painting confirms stability in its static structure. The aim is to transform the static into a moving, dynamic space. A balancing act between stability and instability where the line continues onto the surrounding wall. Children scribble without being taught, then, we are educated to draw a straight line. Scribbling can be viewed as a form of childhood nostalgia, of a sensation of freedom and innocence. The scribble bounds the world with a meaning to everyone and yet it means something else to each one of us. The lines represent a moving of private sensations into a public realm. A feeling can accompany the line or it can become the line. The painting changes with time, as I draw new lines onto a new surrounding wall. Understanding it as a way to grasp the intimateness of lines and navigating my way around.
Notes on liminality and the in-between
unitited (exchange of breaths)/150*150
I breathe in and out. The starting point is the uncontrollable in the present. The connection between the breath, the body and the psyche represents both presence and absence. A notion of something moving out of the painting, like the line, that exists both within and outside the frame. At a balance point between intuitive and conscious gestures, the line exists in a natural space between presence and absence, between the visible and the invisible. Its perspective then gives me the opportunity to further define my painting process. It is the power of rawness, as in the breath. The line, a pure energy that moves physically in and out of the harmonious balancing points within the painting itself. The painting requires a physical point of view beyond the conditions of the frame, beyond a visual grammar, and contains therefore a spatial presence in the room. This physical presence is a reflection of one's own vulnerability. Breathing.
Between the word/oil, pencil on cotton, 140*140
How can we define the possibilities and openings of the abstract in-between space? Something beyond ourselves, and a dissolving of boundaries between color, shape and line. The painting requires a physical point of view beyond the conditions of the frame, questioning its own spatial conditions within the space it exists . This physical presence is a reflection of one's own vulnerability, this fragile encounter between something that disappears, but which is also eternal; the personal dialogue in the encounter with the universal. The stones on which the painting stands demand their natural place, the indefinable in all of us, and the physical encounter with the present. There is a physical gravity in our human existence, reflecting the painting's connection between an intangible place and the surrounding space.