Context & Research
As presented in the relevant Critical Reflection section, several concepts, methodologies and theories have influenced my practice for Unit 2. Support for my approach to this work can be found in a number of theories and in the practice of the artist.
Subconsciousness , Psychoanalysis with Automatism
For this type of composition, reference must be made to Surrealist techniques such as 'pure psychic automatism', which involves allowing the hand to move across the page without conscious intervention.
Example of decalcomania, a technique used for paintings - photographic reproduction of the painting "fire and ice" by H. Grobe (1975)
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Decalcomania: A technique where ink or paint is applied to paper or canvas, and then another surface is pressed against it. When the surfaces are separated, the ink or paint creates a pattern or image that can be further developed by the artist.
Max Ernst
The Entire City (1934)
Tate
Henri Michaux
Untitled Chinese Ink Drawing (1961)
Tate
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Frottage: A technique where a sheet of paper is placed over a textured surface, such as a piece of wood or bark, and then rubbed with a pencil or other drawing tool to transfer the texture onto the paper.
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Exquisite Corpse: A collaborative drawing game where each person draws a part of a figure or image without seeing the previous person's contribution, resulting in a surreal and often humorous final image.
Max Ernst
Forest and Dove (1927)
Tate
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Grattage: A technique where a layer of paint is applied to a canvas, and then a tool such as a scraper or comb is used to remove some of the paint. The resulting texture can be further developed by the artist.
Les champs magnétiques, (The Magnetic Fields), by André Breton and Philippe Soupault, Paris, Au Sans Pareil, 1920, State Library of New South Wales RH 0252
Automatism, originating from physiology, refers to involuntary bodily movements such as breathing or sleepwalking. In the realm of psychology, this term took on a new meaning when psychoanalyst Sigmund Freud employed it to investigate the unconscious mind of his patients. Freud utilized techniques like free association and automatic drawing or writing to tap into hidden aspects of the psyche.
These psychoanalytic concepts deeply influenced the French poet André Breton, who played a pivotal role in launching the surrealist movement in 1924 with the publication of the Manifesto of Surrealism. Within this manifesto, Breton defined surrealism as the embodiment of "pure psychic automatism" – the ability to articulate thoughts without the influence of reason, morality, or aesthetic considerations.
By emphasizing the liberation from conscious control and embracing the unfiltered expression of the subconscious, surrealism sought to unravel the hidden depths of the human mind. Surrealist artists and writers aimed to access a realm beyond rationality, tapping into the wellspring of the unconscious to reveal hidden desires, dreams, and fantasies.
Through the practice of automatism, artists sought to bypass conscious thought and allow their hands to guide the creative process. Automatic drawing or writing became tools for accessing the spontaneous, unfiltered expressions of the subconscious. By relinquishing control and surrendering to the flow of the unconscious, artists discovered new realms of imagination and tapped into the rich tapestry of the human psyche.
In this context, my work resonates with the principles of automatism and surrealism. By abandoning preconceived notions and embracing an unconscious approach to creation, I access a similar terrain explored by surrealist artists. The use of crocheted wool and textured ceramic materials adds depth and tactile complexity to my work, invoking a sense of touch and sensory engagement. The red color, with its symbolic and emotional associations, further amplifies the subconscious and psychological dimensions of my artistic expression.
Through my deliberate rejection of conscious control, I invite viewers to immerse themselves in my artwork and embark on a journey through their own subconscious. The intricate textures and placement of elements evoke a sense of mystery and exploration, drawing viewers into a pilgrimage-like experience where they can encounter their own inner thoughts and emotions.
Theology & Cthulhu
In addition to my studies in subconsciousness and psychoanalysis, theology and Cthulhu's ancient gods have been a great influence on me.
While my work shares certain thematic elements with the ancient gods of Cthulhu, it is important to note that the connection is symbolic rather than a direct representation.Theology, as the study of religious beliefs and practices, provides a framework for understanding the divine and exploring existential questions. On the other hand, the ancient gods of Cthulhu, with their cosmic and enigmatic nature, tap into the realm of myth and the unknown.The ancient gods of Cthulhu, popularized in the writings of H.P. Lovecraft, evoke a sense of cosmic horror, otherworldly power, and the unfathomable depths of the universe. These beings are often depicted as monstrous, tentacled entities that defy human comprehension.
Game scenes about the ancient gods of Cthulhu
In my work, there is a parallel in terms of evoking a sense of the mysterious, the sublime, and the unknown. The presence of the large red sculpture, the intricate textures, and the use of symbolic elements hint at a similar sense of awe and reverence associated with the ancient gods. The color red, in particular, can be seen as a visual motif that symbolizes both vitality and intense emotion, aligning with the primal and enigmatic qualities often associated with the Cthulhu mythos.
However, it is crucial to note that my work diverges from the specific mythology of Cthulhu and instead presents a more positive interpretation. While Cthulhu and the ancient gods are typically associated with dread and terror, my work seems to embrace a different tone, offering a redemptive and transformative experience.
The juxtaposition of the red sculpture with the white ceramic hand, inspired by Giotto's religious fresco, introduces an intriguing contrast. It suggests a narrative of salvation, a search for divine intervention or guidance amidst the chaos and uncertainty represented by the red sculpture. This interplay between chaos and redemption, the enigmatic and the divine, reflects a unique interpretation that deviates from the traditional Cthulhu mythos.
In Giotto's fresco, the hand of God is a central element that conveys divine presence and power. It represents the intervention of the divine in human affairs and the manifestation of God's will. The hand is typically depicted as reaching down from above, symbolizing the transcendence and omnipresence of God.
The hand of God in Giotto's fresco is often depicted in a gesture of blessing or authority, with fingers extended or forming a specific hand sign. This gesture signifies divine favor, protection, and guidance. It conveys the idea that God's hand is present in the lives of believers, offering support, solace, and spiritual sustenance.
The inclusion of the small white ceramic hand inspired by Giotto's Hand of God in my work adds another layer of symbolism. It can be seen as a reference to the intervention of God or the ego-subconscious, transcendence and the exploration of spirituality. It becomes a point of connection between the viewer and their ego-subconscious, inviting contemplation and reflection on the relationship between the socially identified self and the ego-subconscious.
Giotto di Bondone
（1267 – January 8, 1337）
FRESCOS DE LA CAPILLA SCROVEGNI de Padua (1303-1306).
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Li Jiaxing
March - April 2023
Woolen yarn & Ceramic
Books on Subconsciousness , Psychoanalysis
The concept of the unconscious and the ego was first introduced by Sigmund Freud in his psychoanalytic theory. (Freud, S. (1923). The Ego and the Id.)
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The concept of the "uncanny" in psychoanalytic theory: The uncanny is a feeling of discomfort or unease experienced when something seems familiar yet strange at the same time. In my work, the use of the red, chaotic, and slightly absurd sculpture could evoke this feeling of the uncanny in viewers, especially when combined with the ceramic legs and hand. The uncanny can be seen as a way of exploring the subconscious, and my work may be interpreted as an attempt to bring the subconscious to the surface.
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Jungian psychology and the collective unconscious: Jung believed that there is a collective unconscious shared by all people, containing archetypes and universal symbols. My work could be seen as tapping into this collective unconscious through the use of ancient god imagery, such as Cthulhu. By tapping into these archetypes, my work may evoke deep emotional responses in viewers that are rooted in the collective unconscious.
Carl Jung expanded on Freud's theory of the unconscious and introduced the concept of the collective unconscious. He believed that the collective unconscious is shared by all humans and contains archetypes or universal symbols that influence behavior and personality. (Jung, C. G. (1968). The Archetypes and the Collective Unconscious.)
The ideas of art therapy were first introduced by Adrian Hill in the 1940s, and later expanded upon by Margaret Naumburg and Edith Kramer. (Hogan, S. (2001). Healing arts: The history of art therapy. Jessica Kingsley Publishers.)
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Art therapy and the use of metaphor: Art therapy is a form of psychotherapy that uses art-making as a way to explore emotions and the subconscious. The use of metaphor in art therapy is important as it allows the artist to explore emotions and experiences in a non-linear and symbolic way. I use of the red, chaotic, and slightly absurd sculpture, as well as the ceramic legs and hand, can be seen as metaphorical representations of deep emotional experiences that are difficult to express in words.
The Varieties of Religious Experience: A Study in Human Nature
The Varieties of Religious Experience: A Study in Human Nature, Being the Gifford Lectures on Natural Religion Delivered at Edinburgh in 1901–1902[1]
The Psychology Of Religion: An Empirical Study Of The Growth Of Religious Consciousness
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Religion and symbolism: Religious traditions often use symbolism to represent deeper spiritual concepts. Your work may be interpreted as using symbolism to represent deeper spiritual or philosophical concepts, such as the idea of a collective consciousness or the relationship between the self and the divine. The use of the hand of God in Giotto's religious fresco as a reference point may also suggest a connection to religious symbolism and ideas.
The relationship between my work and the book "The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma" by Bessel van der Kolk can be seen in the shared exploration of trauma, the integration of mind and body, and the transformative power of art therapy.
In "The Body Keeps the Score," van der Kolk delves into the effects of trauma on the brain, mind, and body, and explores various therapeutic approaches to healing trauma. The book emphasizes the importance of understanding trauma as a whole-body experience and highlights the significance of integrating physical, emotional, and cognitive processes in the healing journey.
Similarly, my work engages with the themes of trauma and healing. Through the process of creating my sculptures, I tap into my subconscious and access repressed impulses, desires, and emotions. This act of self-psychoanalysis through art therapy aligns with the principles discussed in "The Body Keeps the Score." By allowing my artistic expression to emerge unconsciously and integrating it consciously, I create a bridge between my subconscious and conscious selves.
Furthermore, the use of materials and symbolism in my sculptures offers a means of externalizing and processing trauma. The profusion of red in my artwork, which I associate with my skin condition, becomes a powerful vehicle for expressing and confronting inner turmoil. The color red is often associated with strong emotions, and through my artistic exploration, I find a way to embrace and confront these emotions.
Additionally, my sculptures offer viewers an opportunity to engage with their own subconscious and explore their personal traumas. By immersing themselves in the symbolic language of my artwork and participating in the pilgrimage ritual I have created, viewers can embark on their own transformative journeys, echoing the therapeutic potential discussed in "The Body Keeps the Score."
In summary, the relationship between my work and "The Body Keeps the Score" lies in the shared exploration of trauma, the integration of mind and body in the healing process, and the transformative power of art therapy. Both emphasize the importance of understanding trauma as a holistic experience and offer pathways to healing and self-discovery.
The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma Paperback - 8 Sept. 2015
Simians, Cyborgs and Women: The Reinvention & of Nature Paperback - 1 Jan. 1991
The relationship between my work and the book "Simians, Cyborgs and Women: The Reinvention of Nature" by Donna Haraway can be seen in the exploration of the boundaries between humans, technology, and nature, as well as the deconstruction and reimagining of traditional notions of identity and gender.
In "Simians, Cyborgs and Women," Haraway challenges traditional ways of understanding and categorizing human and non-human entities. She examines how technological advancements and scientific theories have blurred the lines between humans and machines, as well as between humans and animals. Haraway proposes the idea of the cyborg as a hybrid entity that disrupts binary divisions and embraces multiplicity.
Similarly, my work delves into the complexities of identity and the relationship between humans, nature, and the artificial. Through the use of chaotic and sometimes grotesque imagery, I tap into the primal forces that underlie human existence. This exploration aligns with Haraway's critique of fixed categories and her call for embracing hybridity and fluidity in understanding the world.
Furthermore, my sculptures offer a space for reimagining and reinventing nature and the self. By tapping into my subconscious and integrating repressed impulses, desires, and emotions, I engage in a process of deconstruction and reconstruction. This parallels Haraway's vision of breaking down established boundaries and creating new narratives and possibilities for being.
In summary, the relationship between my work and "Simians, Cyborgs and Women" lies in the shared exploration of the boundaries between humans, technology, and nature, as well as the deconstruction and reimagining of traditional notions of identity and gender. Both challenge fixed categories and embrace hybridity, inviting viewers to question established narratives and consider new possibilities for understanding the world and the self.
Art works on Subconsciousness , Psychoanalysis
MAGDALENA ABAKANOWICZ
Magdalena Abakanowicz 1930–2017
Display dimensions: 4010 × 2900 × 3700 mm, Tate,Presented anonymously 2009
T12980
‘Elephantine ears’: Abakan January-February, 1972 by Magdalena Abakanowicz. Guy Bell/Rex/Shutterstock
The relationship between my work and Magdalena Abakanowicz's art can be examined in terms of their shared interest in the human condition, collective experiences, and the power of materials.
Both my work and Abakanowicz's sculptures convey a deep exploration of the human form and its expressive potential. While my work incorporates the large red hand-crocheted sculpture and the ceramic legs, Abakanowicz is renowned for her use of textile-based sculptures, often featuring multiple figures or body-like shapes. Both bodies of work engage with the human form as a means of expressing emotions, experiences, and the complexities of being human.
In terms of theme, my work and Abakanowicz's art touch upon the vulnerability and strength inherent in human existence. Through the use of materials, textures, and spatial arrangement, both bodies of work evoke a sense of collective experiences and shared humanity. My placement of the ceramic legs around the main sculpture creates a dynamic relationship and suggests a narrative or symbolic connection, much like Abakanowicz's installations that often feature multiple sculptures in close proximity to one another.
Furthermore, the materiality of my work and Abakanowicz's sculptures is significant. While I employ hand-crocheted wool and ceramic, Abakanowicz extensively worked with textiles, including burlap and sisal, which she manipulated to create textured surfaces that elicit tactile and visual responses. Both bodies of work demonstrate a deep engagement with materials, exploring their expressive potential and emphasizing the tactile qualities of the artworks.
Additionally, there is a shared sense of introspection and the exploration of inner worlds in my work and Abakanowicz's art. Through the representation of the human form and the use of abstract or fragmentary elements, both bodies of work invite viewers to contemplate their own experiences, emotions, and relationships to the broader human condition.
In summary, the relationship between my work and Magdalena Abakanowicz's art lies in their shared exploration of the human form, the vulnerability and strength of human existence, the collective nature of experiences, and a deep engagement with materials. Both bodies of work offer viewers a reflective and contemplative space to engage with the artworks and contemplate their own place in the world.
Zao Wou-Ki (Zhao Wuji)
Zao Wou-Ki (Zhao Wuji)
Untitled
signed, signed in Chinese and dated 59
watercolour and ink on paper
31,7 x 24,7 cm; 12 1/2 x 9 3/4 in.
Executed in 1959.
Zao Wou-Ki (Zhao Wuji)
16.5.66
oil on canvas
Zao Wou-Ki was a Chinese-French artist who believed in the power of abstraction to convey emotions and express the subconscious. In his work, he often used colors and forms to create an emotional impact that transcends language and culture.
Similarly, in my work, I also use colors and forms to evoke emotional responses in the viewer. The red color of my sculpture, for example, could represent intense emotions such as passion, anger, or even pain. The use of abstract forms in my work also allows for multiple interpretations and associations, making it accessible to a wider audience.
Moreover, Zao Wou-Ki also believed in the importance of the artist's personal experience and identity in shaping their artistic expression. He once said, "Painting is the place where you can be totally yourself." This idea resonates with my experience of incorporating my own personal struggles with my skin condition into my artwork.
Overall, my work shares similar themes of using abstraction to express emotions and the importance of personal experience in shaping artistic expression with Zao Wou-Ki's work.
Louise Bourgeois
Louise Bourgeois in front of her New York City home in 1975 wearing the latex sculpture AVENZA (1968-1969) which became part of CONFRONTATION (1978, Coll: Guggenheim Museum, NYC).
Photo: Mark Setteducati, © The Easton Foundation
Cell XXVI (detail), 2003
Steel, fabric, aluminum, stainless and wood
99 1/2 × 171 × 120 in | 252.7 × 434.3 × 304.8 cm
Bourgeois is a French-American artist known for her works that explore the complexities of the human psyche and the subconscious. Her sculptures often take the form of distorted human figures and body parts, which she described as a way of "discovering the original wound". Like my work, Bourgeois' pieces often deal with issues of the self, the subconscious, and the body.
Annette Messager
Annette Messager, Gants-Tête — Gloves-Head (detail), 1999. Installation view. Goves, coloured pencils.Annette Messager: motion / emotion, MCA, 2014. Image courtesy and © the artist.
Annette Messager, Mes voeux – My vows, 1989. Installation view of Annette Messager: motion / emotion, 2014, MCA Australia. Gelatin silver photographs, colour pencil on paper, string. Purchased 1993, National Gallery of Australia, Canberra. Image courtesy the artist and MCA Australia. © the artist. Photograph: Alex Davies
Annette Messager, Cônes noirs – Black cones, 2009. Installation view of Annette Messager: motion / emotion, 2014, MCA Australia. Black leatherette, net, ropes. Image courtesy and © the artist. Photograph Alex Davies
Messager is a French artist known for her eclectic works that often blur the lines between reality and fantasy. Her pieces often incorporate found objects and everyday materials, and explore themes of memory, identity, and the body. Like my work, Messager's pieces often deal with the subconscious and the hidden desires and fears that lie beneath the surface.
Eva Hesse
Expanded Expansion , 1969
The Estate of Eva Hesse
Installation view, 'Anti-Illusion: Procedures/Materials', Whitney Museum of American Art, New York NY
Sans II
Eva Hesse, 1968
Fiberglass, polyester resin, five units
96.5 x 1092 x 15.6 cm
Eva Hesse, Cheesecloth, latex, fibreglass
Overall 350 h x 630 w x 109 d cm
each panel 30 kg
Wheel with Rope
Magdalena Abakanowicz, 1973
Wood, burlap, hemp, metal line
© Magdalena Abakanowicz
Hesse was a German-American artist known for her pioneering work in the field of postminimalism. Her sculptures often incorporated unconventional materials such as latex and fiberglass, and dealt with themes of the body, gender, and the self. Like my work, Hesse's pieces often have an organic, visceral quality, and explore the relationship between the self and the external world.
Lee Bontecou
“Untitled”, 1980 – 1998 by Lee Bontecou via the Museum of Modern Art. Medium: Welded steel, porcelain, wire mesh, canvas, grommets, and wire
Lee Bontecou, Untitled, 1966
Welded steel, canvas, epoxy, leather, wire, and light. 78 1/2 x 119 x 31 in. (199.4 x 302.3 x 78.7 cm). Museum of Contemporary Art, Chicago, Gift of Robert B. Mayer Family Collection, 1991.85.
Lee Bontecou, Untitled, 1962
Welded steel and canvas. 68 x 72 x 30 in. The Museum of Fine Arts, Houston Gift of D. & J. de Menil.
Bontecou is an American artist known for her large, wall-mounted sculptures made from unconventional materials such as canvas and industrial hardware. Her pieces often have a dark, otherworldly quality, and have been described as "cosmic" in nature. Bontecou's sculptures often have a visceral, bodily quality, and explore the relationship between the self and the wider universe
Frida Kahlo
Henry Ford Hospital (The Flying Bed), 1932 by Frida Kahlo
My Grandparents, My Parents, and I (Family Tree),1936, 30.5 x 34.5 cm
Two Nudes in a Forest, 1939 , by Frida Kahlo
The Suicide of Dorothy Hall , 49cm x 60cm, by Frida Kahlo
Kahlo's work also dealt heavily with personal trauma and physical pain, as well as her own identity and sense of self. Her paintings often incorporated symbolic imagery and vivid colors to convey the complex emotions and experiences she was grappling with.
Additionally, she frequently included self-portraits in her work, which allowed her to explore her own identity and sense of self.
KLÁRA HOSNEDLOVÁ
KLÁRA HOSNEDLOVÁ
exhibition and performance view, To Infinity, Kestner Gesellschaft, Hanover, 2023
KLÁRA HOSNEDLOVÁ
exhibition view, To Infinity, Kestner Gesellschaft, Hanover, 2023
Klara Hosnedllova's work explores historical emotions as they crystallise in modern and contemporary design and architecture. Her sculptures and environments are to be given over to the collective mythology of Eastern European history and the past.
Working in narrative sequence, Hosnedlova explores utopian architectural sites. Digital photography captures the atmosphere of these places, later enhanced by manual pixel reduction: rendered with silk thread on canvas, objects and faces become light and dark toned landscapes dissolved in sculptural frames made of materials found on site.Hosnedlova's site-specific installations recognise nostalgia as a fundamental feature of global culture and extrapolate the synchronicity of often contradictory concepts such as reflection and longing, alienation and emotion.
In her first institutional solo exhibition, Klara Hosnedlova transforms the halls of the Kestner Gesellschaft into labyrinthine interiors, painstakingly modelling the empty questions that peek into the surface one-by-one of the tilted mirrors of the humanoid self. Her monumental performative sculptures, suspended like clouds of opaque matter, are incubators of corporeal poetry, generous habitats for miniature images of a fragmented post-industrial world on the brink of exhaustion.
Under the skin of the exhibition, the artist performs a mirage of painted images: narrative gestures of the suturing process, elaborated by surgeons and storytellers, deceiving perception and tricking the senses to generate a suspension of disbelief. The subtle movements of the carefully layered silk threads on the smooth surface of the canvas resemble brush strokes, producing a dense texture of a unique, distant texture, a fragile zone of almost relief-like visuality.The environments created by Hosnedlova are filled with an unbearable nostalgia for an almost tactile past, but at the same time they resonate with the forces of an ancestral nature, namely a future that has not yet been re posthumous bodies that have yet to be reconceived; scenes of new life about to be born - the sound of girding, the pulsing of veins, the ritual of becoming malfunctioning - an antibody that resists the body as a social and cultural construction of coercion.
Hosnedlova's work is a shamanic ritual of renewal and redemption, an alchemical tale on the surgical table of a phantom cocoon, an allegory of dreams. We are in a realm of enlightenment: post-human and the possible and necessary new origins of post-nature.
About the art of Fabric
Atmospheric Nature (installation view).Bioplastic and cheesecloth. Varied Dimension. 2021
In/Flux. Bioplastic, wire and fabric. Varied Dimension. 2022
Sheer Audacity. Burlap, wire, dye and jute strings.2017
Nnenna Okore
Her abstract, textured wall sculptures made from recycled materials, Okore's large-scale sculptures stem from her early life experiences and deal with the notion of recycling, adapting and reclaiming forms made of natural materials: found paper, fibres, coffee and stickies, often from West Africa. okore's structures mimic the intricate fabrics, trees, bark and topography she was familiar with from her childhood in Nigeria. . Her hand-repeated techniques of fraying, weaving, dyeing and sewing are reminiscent of her childhood experiences where she watched and participated in daily craft activities.
Susanne Thiemann
JABBERWOCK (2011)
Geflecht und Stuhl , 170*60*30cm
PULL- OVER-CHAIRS(2011)
Auböckstühle mit Geflecht
Susanne Thiemann, an artist and basket weaver from Munich, turned worn materials into images; the artist found a large number of colourful plastic hoses that were used in the 1960s and 1970s to produce the then hard-edged modern chairs and chaise lounges. The ease of forming and the softness of the hoses were ideal for weaving work in colours that fascinated them: warm ochres, sky blues, pinks, bright yellows and rich cherry reds. Industrial materials and
This fascinating interplay of traditional craft techniques still runs like a red thread through Susanne Thiemann's artwork.
In her work, she brings the perfection of traditional craftsmanship to the radical freedom of artistic purpose.SusanneThiemann's sculptures consist of thin monochrome plastic hoses, coloured wires and thickly shredded car tyres. She chooses lost possessions and surplus stock of mass-produced, barely perishable products; these materials trigger many connotations because they belong to our everyday life and use.
Her new sculptures are hung from the ceiling, placed on chairs, tables or armrests. Many of the sculptures become portable 'works of the past', which is why Chris Dercon calls Susanne Thiemann a female FranzWest.
This line of work is continued in the exhibition Colour in Motion. Through it all, she has remained faithful to her craft of weaving.
Maria Nepomuceno
Maria Nepomuceno, Sim, 2016, Exhibition view at Victoria Miro, Mayfair, London. Courtesy the Artist and Victoria Miro, London. © Maria Nepomuceno
Maria Nepomuceno,Untitled, 2016 ,Ceramic, ropes, cabaça, fiberglass and resine, 40 x 30 x 25 cm
Courtesy the Artist and Victoria Miro, London © Maria Nepomuceno.
Maria Nepomuceno is a Brazilian artist known for her woven sculptures.
The artist uses traditional rope weaving and straw weaving methods as well as her own design techniques, Maria Nepomuceno has developed a process of sewing coils from spiralling coloured ropes since the early 21st century. She explores the potentially endless arrangements of this adaptive form in sculptures and installations that combine beads, playful ceramic forms and found objects of different sizes. Often realised in the vibrant colours of Carnival, these works are rich in colour, culture and metaphor, suggesting animals, plants, bodies and landscapes from the micro to the macro
Tina Marais
Tina Marais's work considers the intertwined issues of objecthood, biophilia and social intertwined issues of structure and the memory of places and things.
Throughout the process of creation, she organically embeds her reflection in the fabric, using needle and thread to depict this journey.
"I have always been fascinated by the organic elements in the natural environment. They are never static, their ever-changing reality and flow can only be seen by us as we experience it. The nature of this change, imperceptible decline on the one hand and exuberant growth on the other, inspires my abstract thoughts. As I venture through my life story, stepping into new territory and occasionally revisiting once familiar empty questions and realms, I change, I become, I evolve."
In Tina's work, she uses textiles as the basis for architecture, contrasting natural and synthetic fibres to create echoing forms of organic and inorganic life forms, cellular mutations and tactile memory elements. Through using contrasting materials and recycled elements, she reflects on the environmental impact of the textile industry and the impact of consumerism on the environment, particularly on fragile water systems. She often imagines that the fabric bears the memory mark of water.