VIEW IN MY ROOM
Joanna Maria Dziedzianowicz PAINTINGS
United Kingdom
Painting, Oil on Canvas
Size: 23.6 W x 31.5 H x 0.8 D in
Ships in a Tube
If you want to see how the paintings are being made, follow @asiaodkasi or Joanna M Dziedzianowicz on Instagram. InstaStory updated every Wednesday. In detail my own artistic practice was inspired by the creation of Brazilian artist - born in Belo Horizonte - Lygia Clark. This female artist was a main subject of the exhibition carried out in the Zacheta National Art Gallery. However I am going to refer to her person, not to her artworks. I am using Clark's image in my work as a symbol of female-artist. Despite the Brazilian influences I am also referring to my own experience and period when I was studying at the Faculty of Fine arts in Lisbon. The paintings present different situations explaining how I imagine the possibility of road life for the women painter. I take too important aspects of perception of woman-artist by society and placing her in a specific social hierarchy. On the first plan there is a won - artist again Lygia Clark. Her outfit was inspired by different Brazilian artist Carmen Miranda. Carmen Miranda was a Portuguese Brazilian samba singer, dancer, Broadway actress, and film star who was popular from the 1930s to the 1950s also in the United States. I want to ask viewer if there is a difference in promoting a singer and a visual artist? Do they both have to represent themselves for the public? Can a painter stay anonymous and being recognized only from her artwork instead of her appearance? Is she always going to be "associated" with the image that she created in the way as the jewelry is owinięta wokół jeu szyji i ark niczym kajdany. Her face is much lighter than her hands and neck - here I want to bring attention to fact that in social media darker skin then North European's standards is always lightened. An example of such an artists are Mexican actresses as Selena Gomez who in commercial productions have always put on lightening makeup. Another example is a singer Beyonce Knowles who owe the years appears with different skin color on pictures. Another aspect of having your face recognized by common people is exposed on the second plan. This is a very negative/sad example of being famous and being recognizable. On the second plan is painted the embassy of the USA in Moscow. American and Russian flags are placed on the building. On the day of fifty-sixth birthdays of American Democratic Party Current President Barack Obama, anonymous people screened on the facade of the embassy building a video animation. The video was presenting Mr. Presiden's head with birthday's hat eating a banana together with sentence "Happy Birthday Mr. Obama" The authors of this racist video used only few lines to construct Mr. Obamas' face.
Painting:Oil on Canvas
Original:One-of-a-kind Artwork
Size:23.6 W x 31.5 H x 0.8 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships Rolled in a Tube
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:Poland.
Customs:Shipments from Poland may experience delays due to country's regulations for exporting valuable artworks.
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United Kingdom
Joanna Maria Dziedzianowicz stands at the forefront of contemporary artistic expression and is dedicated to exploring the intricate interplay of cultures. With an unwavering commitment to unveiling the transparency of cultures, Dziedzianowicz endeavours to showcase the universal thread that binds humanity. Through upcoming projects, she seeks to illuminate the profound notion that every individual can discover a sense of belonging in any corner of the globe. A keen curiosity about the diverse tapestry of human experiences marks Dziedzianowicz’s artistic journey. By delving into the intricate nuances of various cultures, she aims to break down barriers and foster a deeper understanding of our shared human heritage. This exploration catalyzes her belief that, despite apparent differences, we all possess an inherent capacity to connect with and find belonging in cultures beyond our own. As she unveils her latest projects, the artist invites audiences to join her on a visual and conceptual voyage. Through her work, Dziedzianowicz invites viewers to reconsider notions of identity, fostering an appreciation for the rich tapestry of global cultures and, ultimately, reinforcing the idea that each person can carve out a meaningful sense of belonging in our interconnected world.
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