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La Trappa, NE wing Print

Arta Garanca

United Kingdom

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About The Artwork

This drawing is part of the second collection. Continued journey in Italy led me to an old monastery high in the Alp mountains, quite away from the civilisation, called 'La Trappa'. Works on this building stopped more than 200 years ago. It never reached the size that the creator of it desired at the time, but the walls still contain the signs of the intended continued work - stone arches in the walls waiting for the future door, openings between the stones on upper levels ready to hold the timber beams, protruding stones along the sides are there to connect with the continued walls. I tried to hide and at the same time expose these little clues in this drawing that shows the elevation that in the first glance might seem plain and monotone. The original drawing is currently exhibited in the corridors of 'La Trappa'. It was drawn on the other side of an old poster, same as the first collection's drawings that started in the limited stock lockdown period. The smooth surface of this paper allows the ink to flow easier, increasing the contrast between the black and white.

Details & Dimensions

Print:Giclee on Fine Art Paper

Size:9 W x 12 H x 0.1 D in

Frame:Not framed

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Although for the last 10 years London was my home (originally born in Latvia), currently I am a backpacker moving through Europe crisscross. In 2019 I left my office job in London and in late autumn headed out on a volunteering trip. I wanted to learn if I can find a different use of my architectural skills through natural building and learn to live with the unknown while having all my personal belonging fitted in one backpack. Drawing became my companion. I recorded the visual experiences of my journeys through the subject closest to my heart - architecture. Each drawing is not only an image, there is a unique story and location behind every one of them. And behind each story, there is a more personal experience. And the combination of it all is what I am looking to share with the world. The technique of black and white ink drawings was always attractive to me. Daring to work with a pen directly on paper was the very opposite of my character. The wobbly and chaotic line work became a rebelliousness against the fear of making a mistake. It's an attempt to break the notion of right, wrong and proper. Many lines that are seemingly all over the place in wrong directions come together to create the final image.

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