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TRANSMOGRAPHY 1 Drawing

Maia S Oprea

Romania

Drawing, Charcoal on Canvas

Size: 40.6 W x 45.3 H x 1.2 D in

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About The Artwork

For a long time now, I have come to believe that much of sketches I had made in the past (in between 2002-2012) are a subject and material which needs to be digested and re-integrated in a present circuit of creation. The selection of these sketches (in this case figurative ones ) and the time spent studying them, analyzing them, or just simply observing them, storing them and restauring them, has actually replaced any present creative act with a thorough erasure of memories. Memory always has a recursive action, its range extends to my current life, it is an intrusion into my life. Reusing these sketches would lead to an inner cleanliness that would give me the opportunity to be reborn in and through my own work. It would not properly be a deletion, but a comprehensive process of reparation and passing of time. Transmographies are intended to be a self-referential system through which I transfer old drawings onto a new surface. Transfers which become a formal linear system and graphic expression of a personal language. Language through which I represent a formal structural study of Painting manifesting its own limits. Linear Transmographies are equivalent with self-referentiality as re-presentation and illustration of the creative process. The denomination of transmography comes from the three words that would compose it: “transfer”, “morph”/“morphology” and “graphy”.

Details & Dimensions

Drawing:Charcoal on Canvas

Original:One-of-a-kind Artwork

Size:40.6 W x 45.3 H x 1.2 D in

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Painting is located in the center of my artistic interests, and through it I investigate concepts of time, memory, absence, waste, decay, violence, identity, subjectivity and vulnerability The purpose behind my latest artwork (painting-graphics, collage, assemblage) is to explore the expressive properties of paint and other materials through physical and poetic processes, following the development of a personal dialogue in between thoughts and colors, emotions and memories, lines and gestures, hesitations and decisions. Desiring to pull the viewer from representation, I like to draw attention to the painting process and to many painterly 'imperfections', which can be clearly visible in the works. My paintings are often built up in layers, during long periods of time, through a process of recording and analysing natural forms, shapes and objects which I make myself, or my own manipulated photographs. These visual sources often resonate with my old drawings and sketches, which are in turn incorporated in the future paintings. The brushwork experiments in the studio and the repetitive structural forms found in my environment become a language of my work. If I were to synthesize in a sole phrase what characterises my interventions, steps, installations and artworks of the media I have experimented so far (photography, video, performance, installation, sculpture), I would say that they are all somewhat self-referential. Self-referential in the sense that my work doesn't demonstrate nor does it present the functioning of structures belonging to the territory of the real. But rather it embraces these structures, interrogates them, in the pursue of a visual expression where reality and imaginary, conscience and unconscious, life and death stop being felt as incompatible. www.maiaoprea.ro/en http://maiastefanaoprea.wordpress.com

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