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Oil on Linen

On a level practical and personal, not too long ago and quite by chance, I arrived for the first time in a town near my ancestral home in the Campania region of southern Italy. I was immediately overwhelmed by a sense of déjà vu, of homecoming. I am landed here in this valley and I have a sense of remembering this place I have never been. I wasn’t always an immigrant. I come from a long line of farmers. On a spiritual, transcendent, collective level, I am curious about who I am/who we are; where I belong. I am concerned with identity in a sense possibly deeper and broader than the superficial cultural contexts usually used to construct ourselves, though not disregarding our seemingly obligatory relationship to them. (I wasn’t always a farmer.)
 
 I am concerned with the process—the search for and exploration of identity, rather than any attempt to supply definitions. I find myself delighted by small mysteries, synchronicities; inexplicabilities. This valley remembers being a lake. My recollections of my great-grandmothers’ stories change my understanding of my children. Beyond the stories of my specific blood ancestors are the stories and memories of a greater collective. I’ve always hated the way the myth of Icarus ended, with our hero crashing, almost wingless, into the sea. I would set out to find an alternate ending—one in which our identity is maybe not so bounded by oblivion. I am interested in the way memory (not just literal, tangible memories, but senses, suspicions, a feeling of connection and familiarity) affects the definition of self and maps our location in reference to “other,” (should there turn out to be such a thing in the end).
 
I construct images as if I am searching for significance in the places, things, faces that rise to the surface of my mind together in ways that they might not have actually existed, like a dream that feels important, the meaning of which, however, often feels veiled to me.  Behind and below there are things as important as what’s above and ahead. These opposing directions place us here, now—a position that feels very oddly both fixed and fluid.
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l'immigrata Painting

Melinda Borysevicz

Italy

Painting, Oil on Other

Size: 94 W x 78 H x 2 D in

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SOLD
Originally listed for $19,500
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About The Artwork

Oil on Linen On a level practical and personal, not too long ago and quite by chance, I arrived for the first time in a town near my ancestral home in the Campania region of southern Italy. I was immediately overwhelmed by a sense of déjà vu, of homecoming. I am landed here in this valley and I have a sense of remembering this place I have never been. I wasn’t always an immigrant. I come from a long line of farmers. On a spiritual, transcendent, collective level, I am curious about who I am/who we are; where I belong. I am concerned with identity in a sense possibly deeper and broader than the superficial cultural contexts usually used to construct ourselves, though not disregarding our seemingly obligatory relationship to them. (I wasn’t always a farmer.) I am concerned with the process—the search for and exploration of identity, rather than any attempt to supply definitions. I find myself delighted by small mysteries, synchronicities; inexplicabilities. This valley remembers being a lake. My recollections of my great-grandmothers’ stories change my understanding of my children. Beyond the stories of my specific blood ancestors are the stories and memories of a greater collective. I’ve always hated the way the myth of Icarus ended, with our hero crashing, almost wingless, into the sea. I would set out to find an alternate ending—one in which our identity is maybe not so bounded by oblivion. I am interested in the way memory (not just literal, tangible memories, but senses, suspicions, a feeling of connection and familiarity) affects the definition of self and maps our location in reference to “other,” (should there turn out to be such a thing in the end). I construct images as if I am searching for significance in the places, things, faces that rise to the surface of my mind together in ways that they might not have actually existed, like a dream that feels important, the meaning of which, however, often feels veiled to me. Behind and below there are things as important as what’s above and ahead. These opposing directions place us here, now—a position that feels very oddly both fixed and fluid.

Details & Dimensions

Painting:Oil on Other

Original:One-of-a-kind Artwork

Size:94 W x 78 H x 2 D in

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Melinda Borysevicz (b.1970, New York) is an Italian-American figurative artist currently living and working in rural southern Italy. Her recent narrative portrait and figure paintings spring directly from her sometimes surreal personal experience of having re-discovered her ancestral home and often reflect a more universal sense of longing and searching. The characters in her work are often either in motion or caught in an implied desire to move/escape, no longer completely satisfied to oblige the invention of boundaries or borders, whether they be physical, emotional or spiritual. Borysevicz received a BFA in Painting from Savannah College of Art and Design (Savannah, GA) magna cum laude. Her work was recently selected for Manifest Gallery’s International Painting Annual as well as for Figurativas 19 at the European Museum of Modern Art in Barcelona, where she has previously exhibited. She has also exhibited at the Museo Pablo Sarrano in Zaragosa Spain, the RJD Gallery in New York, Abend Gallery in Colorado, and numerous locations in Georgia, Virginia, Ohio, Texas, and Italy.

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