Rupert Harris critical thinking for this piece that I created during my flight to Barcelona, I needed a lift for my mood and I decide to check my work in my mobil to see if I could have new ideas and change destructive thoughts for creative ones during my flight. After the flight I contact my friend Rupert for a feedback and food for my mood , hope I entertain him also, I have a lot of consideration and admiration for him, he is a poet and a painter and his work is brilliant out of the crowd and absolultly not commercial but yes AUTHENTIC, saying that I am not saying that commercial art is not authentic, I Will keep speaking about this after a conversation with my friend.
I told him that this piece Will be the final piece once I have added some letters with photoshop, his answer is that the photo makes a lot of sense in the context of your work. It’s yet another image generated out of its own reference point. Black and White also Works brilliantly well, in that it produces a tonal range that is flatter and could easily be a drawing. Making a drawing from the phot might actually be the next stage in an approach that continues to cannibalise itself. Your art explores a process of assimilation, not into some other external entity, but into itself, and in doing so transmutes into something new, rather tan into nothing. Keep up the Good work. xx
I did this piece one year ago before I start my studies at the RCA but now I am manipulating the piece changing colours of the photos and Photoshop. This piece Will be in constant transformation .
Duality. Carl Gustave Jung.
Influenced by Eastern phylosophies.
Jung adopted a dualistic framework of positive psycology he recognized that duality is the fact of human nature. Every good quality has its bad side and nothing that is good can come into the world without directly producing a corresponding evil.
One example of this duality is that we cannot achieve wholeness without integrating the dark side of the self.
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 