I bring an element of chance into my practice with my husband. It was important for me to involve him in the creative process, and also since his mindset differs sharply from mine, I see here the potential for combining two opposites.
So I gave him two of my works, which were my first steps to destruction or search for the long -term path of development of my colour fields.
One work is flat, where I actually discovered two layers for possible images (see this idea developed in another work:
...and there was also a search between the plane of the picture/drawing and the volumetric work. Initially, my interest was in search of the boundary between the flat image and the voluminous, while the flat creates the illusion of voluminous.
The second work, it was one of the new, at that time, examiners on the integration of foreign objects into the emotional colour field. I was interested to see how the harsh and raw object with its history will be integrated with a soft and emotional field.
My husband worked for about three hours in my studio. Then he said that everything was ready, and he had nothing else to do - everything else was boring and not interesting. It is interesting to note, on the contrary, that I can live in the studio all day long and forget about food because I am very focused and only think about the current artistic flow.
As a result, the first artwork is lost. My husband commented that he wanted to help me find the boundary between a plane and an object in space. He also noted that it was important for him to introduce a little logic and geometry into illogical and overly emotional works. Balls and triangles, which he cut out from available materials, were glued and drilled into the surface of the work. These elements stand out sharply and simply do not belong in this work.
As a conclusion for the current work, I noted for myself that my husband simply took and began to boldly look for the necessary items in my workshop without any questions and adapt the items to the idea he had in advance. It took me ten years to move so boldly and work with my accumulated objects for creating art, and he didn’t even think about it. Also, he followed a pre-created plan, and brought the final work to the image that he had in his head. In contrast, I work without much understanding of the end result. While working, he had difficulty technically attaching elements to the painting - I commented, “yes, and sometimes it changes the flow of the whole process”...
The second artwork has transformed into great potential.
My husband's comment: "This work reminded me of the ruins of a factory where nature takes into itself everything that man first took from it." (https://voelklinger-huette.org/de/weltkulturerbe/orte-und-schauplaetze/paradies/ This is the place near where we live.)
Introducing vandalism to my work inspired the idea of a real German touch. This is approximately the same feeling I had from the first impression of a “German art school” - somehow dirty and always with unpleasant inscriptions on the wall and with people of unknown gender with a lot of piercings and tattoos.
Someone added dirt to my aesthetic work.
At the moment, I have problems with the letter “V” because, together with the letter “Z”, propaganda in Russia uses them to write the slogans "Zа победу"- “For Victory” and "Сила V правде" - “Power in Truth”.
[online] At: https://www.rbc.ru/politics/08/06/2022/62a0cd6a9a794722c649e0c7(Accessed 19.12.2023)
[online] At: https://riamediabank.ru/media/8357659.html(Accessed 19.12.2023)
Since the meaning is very clear to me, I will have to remove this letter.
As a result, the element of such brutal vandalism is fruitful from the point of view of “it’s so bad that it’s even good.” I will leave this work for a while, and at the right time, I will return to it.
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