I noticed that I actually return to some topics all the time.
One of them is communication with the viewer. I want almost that the viewer reach catharsis. Re-contrary, became better, rethought some things in his life. In my practice, I return to this item spontaneously. For some reason, in communication with the viewer, it is important for me to turn off my imagination. When the work is created intuitively, it is endowed with more communicative power. This happened once with a red colour field; I did it unconsciously.
This is what happened with the work “for my mom” too.
Perhaps this is self-healing through catharsis. Where in these works I subconsciously do what worries me and what I want to work through and let go of.
Louise Bourgeois for example often dealt with themes of trauma, anxiety, and psychological states in her sculptures and installations. Her work has been described as a form of catharsis, allowing her to confront and process her own emotional experiences. Or Tracey Emin who is known for her confessional and autobiographical artworks, which often deal with themes of love, loss, and identity. Emin's raw and honest approach to her art has been seen as a form of catharsis, both for herself and for viewers who connect with her work on a personal level.
But this is not only a matter of catharsis, there is also critical thinking. I always return to the issue of provocation of the viewer, to the motivation of his critical thinking. If earlier I was looking for vulgar ways to provoke the viewer - with a gesture, an action, now I work through the material.
Marcel Duchamp was a pioneering figure in the use of provocation in art, famously challenging the notion of what constitutes art with his readymades, such as "Fountain," a urinal signed with the pseudonym "R. Mutt." Duchamp's work encourages viewers to question the authority of the art world and the role of the artist.
In my case, one of the motivators of the choice of my old wooden sticks and boxes was the confrontation of the Russian system of education and perception by the auditors. Therefore, even now I want to convince and encourage tolerance in the choice of any material by the artist.
I also constantly return to the demonstration or manifestation of emotions in artworks. I used to look for an explosive expressive style in painting. Then when I realized that art is more than the plane, I noticed that I wanted to make more and more “flesh and blood” into my sculptures and colour work. Show through the material a tragedy.
And I’m looking for something that would translate, for example, the style of emotions of Dicey Parris into my materials.
Daisy Parris, Dying Poem, 2022, DAISY PARRIS, DYING POEM, 2022. Oil paint and collaged canvas on canvas, diptych 160x360 cm [online] At: https://www.gallerimagnuskarlsson.com/artists/61-daisy-parris/works/4042-daisy-parris-dying-poem-2022/ (Accessed 12.02.2024)
Daisy Parris is a contemporary British artist known for they expressive and emotionally charged paintings. Parris often explores themes of identity, memory, and personal experiences in they work. They paintings feature bold brushwork, vibrant colours, and raw, gestural marks that convey a sense of urgency and emotional intensity.
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