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MNA 1 Sculpture

Elen Alien

United Kingdom

Sculpture, Environmental on Glass

Size: 25.2 W x 35 H x 1.2 D in

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$3,270USD

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About The Artwork

In Japanese culture, a subtle concept captures this borderline of joy and sadness -“mono no aware”, which means a state of slight anguish from the realization of the actual impermanence of life. This capacious idiom served as the name for Elen Alien's project. Fallen sakura leaves, collected by the artist in Stockholm, express in her work the position of a cosmopolitan, a fundamental rejection of the imposed cultural identity. The image of a migrant is a principle of modern freedom, which has two sides: both the mutual enrichment of cultures and personal alienation, longing for a fleeting meeting with cultural tradition, “mono no aware”. In an abstract drawing woven from petals, there is a frozen moment of perception, contemplation of the falling leaves of sakura. An experience fixed in a material object in an attempt to preserve an elusive beauty is protected from the barbaric intrusion of technologies and virtualities.

Details & Dimensions

Sculpture:Environmental on Glass

Original:One-of-a-kind Artwork

Size:25.2 W x 35 H x 1.2 D in

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

For me, constantly moving between countries, not verbal, but the visual language has become an actual form of communication. My art is about our inner processes, often mirroring in the outer world. Being born in a multicultural environment, I consider myself a citizen of the world. I combine elements of different times and cultural communities to show the absence of the need for separation, labeling. After all, we form all this together, in co-existence. Nature with its processes has become both my source of inspiration and the most suitable material for my works. I am interested in its symbolic properties, intertextuality, transformative qualities, energy, and mood. I unite opposites, such as the tenderness of flowers and the hardness of epoxy resin, thereby revealing the ambivalence of being. I tear objects out of their natural cycle, idealizing them, transforming the finite into a semblance of the infinite. My work focuses on our notion and perception of time. I celebrate the beauty of imperfection because every flaw is a trace of the inexorable elusiveness of time, evidence of experiential involvement, and, thus, an organ of self-identification. That’s why the contingency of the process and the errors resulting from the experimental move are important to my practice.

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