VIEW IN MY ROOM
Waiting Drawing
United Kingdom
Drawing, Charcoal on Paper
Size: 23 W x 33 H x 0.1 D in
About The Artwork
A man sits, motionless, at a bus stop. Work clothes cover his back. Lost in thought. Waiting. This is part of a larger series titled 'Worker Series'. It focusses on the activity of workmen through the industrial streets of Glasgow. Their act of digging, exposing the hidden structures and pipe-works of the city, and healing the wounds inflicted on them through our daily lives. Living in Glasgow, Marina grew fascinated by this perpetual cycle of wounding an healing present in the road works; viewing the city as a living organism, wires and pipes as veins and arteries, being clogged and unclogged. This uncovering of the internal structure that feeds our society renders it with a fragility, reminding us of our own temporal and vulnerable existence. There is an importance in the process of the creation that her work presents visibly on the surface, often leaving finger and foot prints on the surface. Perhaps this reflects the subjects of her work; wanting to expose and remove the layers to discover what it is to be human, to experience and live a lifetime and be able to share it with others. To draw attention to the hidden spaces of human activity - in this case, hidden in the mundanity of the everyday street. But often, her works present intimate spaces, those of internal thought, memory or moments of solitude. Those, that like creativity, happen on the sidewalks, the back alleys and hidden places where we allow our minds to wander and become lost in the emptiness.
Details & Dimensions
Drawing:Charcoal on Paper
Original:One-of-a-kind Artwork
Size:23 W x 33 H x 0.1 D in
Frame:Not Framed
Ready to Hang:No
Shipping & Returns
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United Kingdom
Marina’s work begins with the human body. A breathing vessel that holds every experience. Having trained in contemporary and tap dance, and later gained experience with Butoh and physical theatre, the ability to think with and express through the body became a necessity, and touch, a vital tool for communication. Working to harness movement, she uses multiple disciplines including, painting and drawing to capture and directly translate motion onto a canvas. Her works combine classical figuration with abstracted or fragmented forms; layering multiple images to create a sense of time and motion. She often uses dance, theatre or her own movement as starting points for larger works. Most recently Marina has been creating a series of works from Flabbergast Theatre Company’s MACBETH in direct response to their rehearsals and live performances. This physical record of the transient performance acts not only as documentation of the process but creates a moving dialogue between action, physical embodiment and visual expression.
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