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The Sitter and the Shade – Limited edition of 1 Drawing

Neringa Dastoor

United Kingdom

Drawing, Ink on Soft (Yarn, Cotton, Fabric)

Size: 11.7 W x 16.7 H x 0.1 D in

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About The Artwork

In life drawing classes everyone normally uses paper and a pencil, studying the subject intensely. But I bring different pieces of textiles and choose one depending on the set up and the sitter. There is never one way I go about my drawing on textiles. Back in 1996 in life drawing classes at the Kaunas Art College I was taught by two amazing old lecturers, artists (bless them). And I enjoyed learning the techniques of the precision using a line to indicate the shape or contrast on paper, focusing on the correct proportion and especially the likeness. But in the last few years through drawing on textiles I have found another way to communicate what matters to me in any particular life drawing set up. I respond to the drama of the subject matter provided as well as I respond to the textiles. The textures and thickness of textiles, the brush and the ink is always a unique, momentary, spontaneous, intuitive performance of its own. It is scary to make a mark at first, there is no way to rub it out, but that is the magic of going ahead and join mark with a mark, objects, things, events, people and see how they come together. I enjoy staring at my drawings for hours wondering what happened there, I hope you enjoy that, too.

Details & Dimensions

Drawing:Ink on Soft (Yarn, Cotton, Fabric)

Original:One-of-a-kind Artwork

Size:11.7 W x 16.7 H x 0.1 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Neringa Dastoor (b.1978, Lithuania) is an alumna of the Royal College of Art in London. She moved back to England after 2 years in Brooklyn, New York. She mark-makes, stitches on textiles and, with photography and short film, she also mixes media to produce artefacts. Her current works look at the everyday, with focus on familiarity. With her abstract, tactile, mark-making works she responds to the human interpretation of what familiarity means. Her visual configurations are subject to the response of human adaptivity, physicality, repetitiveness, gestures in one’s own kitchen, culture, utility tools, architectural space, mental states, loss of loved ones, found objects, chemistry, manners of strangers, making friends, language, moving in crowds, and the natural world. She is also ma-ma to two children who don’t help to make art, literally, but conceptually or motivationally they do.

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