Yesterday when I placed my pieces on the table I had to put them very near to each other because there was no space enough on the table, but is my belive that everything happens for a reason and for this reason mentioned above I saw a fantastic composition with the pieces that I did for investigator project, from the top angel I did this photo, I could see from the beginning of that composition that I was creating new shapes from a completely new view, new angle new perspective.
(It is important to say that some of my prototypes have been destroyed because I used them to do a new artwork, or from the 2 D collages a new object, is a back and foward process, but my process of destroying pieces or decomposing and re-do it can be seen on my blog.)
Going back to the photo I took yesterday I would like to mention Barlow’s writing. She says that the curiosity in sculpture is that walking around the sculpture, we realize, things can disappear and reappear, holding on to the totality is complex. The fact that a sculpture is a constantly changing phenomenon which unfolds, refolds again, you can find it extremely restless. A sculpture comes alive when it is activated by the viewer. If we go around or stop randomly beside a sculpture, we can look up or down even on occasion through to the other side, and as we do so, something massive can come up and from another angle, it can suddenly disappear. Solidity is more illusory than we might think.
Kandinsky anticipates the emergence of abstract art as a purest form of influence on the human soul. The work of the viewer is to find within him or herself the purity of perception, which at this level, does not relate to the beauty of nature. The emotions of expressionist, the experiments of cubist, all these stages have long been passed, and now the task of the viewer is to see the beauty of pure colour and pure shape.
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 