Nathan Graves Tuttle gave me a photo the
same day of the artifact project was launch, he took it at Olafur Eliasson exhibition , after
the Class, I went to the studio with Nathan photo and having in mind the artist Michael Landy with his 3d
collages ,I add some new elements and delete other of Nathan photo, I was
thinking to do a 3D collage , this was my starting point of the artifact.
Nathan photo was full of shadows and lights
and I had that leaflet of lee Krasner on my desk opened on a page with a photo
with eyes, and airplane.
For me in that occasion the airplane
symbolizes the masculinity, like In some photos of Helmut Newton the plane it
looks a phallic symbol and the woman represent the opposite energy.
I delete the shadows of Nathan´s photograph. The shadows of fiction, the eyes represent our perception.
The result from the photo is a 2D collage, but the idea is to extract some shapes and make it into 3D object or installation, that’s why the artist Michael Landy is a big influence. He take some of his drawings or collages and parts of them he does installation or 2D and 3D sculptures.
I use chance most of time for the process of making art, whatever is accesible on the table is what I will use, what’s there is there,( I will not add anything else, or make a new colour or new form) I want to limited my palette ,for me is important to have a limited paled to let the chance play its role. Everything happen for a reason and if at that moment there is lee Krasner photo ,it must be for a reason, I enjoy the unpredictable ,what will happen or what I will do is there at that day, one can miss some good chances been in the mind thinking what’s next or what I will do . Sometimes I make things happen, I try to combine and balance or unbalance this process, but having in mid that a failure on the artwork can be the best can happen, if you know how to read between the lines and to see between shapes. Many of the good artworks have happened by accident. Take the chance of the accident, that’s a way ensuring not to repeating yourself in somehow.
I am an interdisciplinary practitioner, a printmaker and painter whose work also extends into ceramics and sculpture. I experiment with different techniques and express myself using a wide range of materials. I am challenging myself by exploring the materiality in printmaking and painting, the core of my practice.
Through the intuitive nature of my work the element of discover is of most significance, allowing accident and mistake occur, sometimes I deliberately provoke them, my interest is to develop flexible thinking and to improve my visual language.
Sometimes my interest is simplifying abstract forms that arise from the interpretation of the figurative image, which allows the viewer to make their own reading of the piece of art. I hope to create a space where the public can interact with their imagination and to realise the fiction of the perception created by our unconscious.
My work emerges as a developing process, it can start with collage made up of discarded defective prints, or it could emerge from Exhibition ephemera. I manipulate them by adding more cut out etchings. I choose one print and work in various ways, I destroy, push, pull, deconstruct, construct and collapse the image resolving in a process of constant abstraction and figuration, this is the thing which appears, not the thing in itself. I don’t have a preconceived idea it’s a call and response.
The 2D collages reach out in relief, they feel sculptural in themselves, I take the opportunity from this 2D collages to go into 3D sculpture and them back to the 2D painting, is a back and forward process mirroring the work of Michael Lady With his 3D collages .
My practice drawn from a range of sometimes contradictory sources, on one hand, I am attracted to the simple and minimalistic of the pieces Miles Davis music "Siesta" and "Human nature" the empty spaces in between the solos attracts me. The same occurs with the painters Agnes Martin and Elsworth Kelly, parts of the painting are resting from shapes and colours, it is an empty breathing space next to the simplicity of the form.
On the other hand I am drawn to the materiality of Amy Sillmans and Gillian Ayres. Their work infuses the complexity of the layers of paint and paper showing the history of the process and the interaction between the shapes, colours and mark making.
I perceive that my work is spontaneous and playful, intuitively mixing elements from observation and imagination. I am planning in the future to start to work with the prints on a much larger scale. I would like to incorporate stronger paper and wood as a support, to extend and make combinations of the etchings into 3D installations with them adding sound.
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Luisa 