Louise Giovanelli, An Ex IV.
Limited edition publication for commuters. Newsprint, 20 x 27.5". 2019.
NYC Subway. Edition of 200.
Limited edition publication for commuters. Newsprint, 20 x 27.5". 2019.
NYC Subway. Edition of 200.
A statement of the state.
My concern is to foreground ways of looking and perceiving, to encourage the possibility that the act of looking itself is content. I deploy cultural references and excerpts from other art forms to investigate the languages and histories of painting. These Images are identified intuitively for their subsequent painterly potential. This has recently included various visual phenomena such as light effects and surface textures. The process of synthesis is gradually distilled through an associative process of placing, replacing, collaging and drawing - providing scope for them to fall away, settle and mature. This allows for the possibility that something will be created rather than illustrated.
I navigate different modes of picturing - flat, modelled, effervescent, translucence - employing multiple modes within the same painting as well as dispersed over several connected works.
Configurations of intersecting under/overlaps might encourage the viewer to switch between different patterns of looking.
Recent work comprises black-modelled leaves in various configurations.
The historically reoccurring motif of the Acanthus leaf suggests something classical, decorative, and ornamental.
I exploit its connotations as simplistic, anodyne decoration, to explore more purposeful visual ideas.
The black paintings consider the act of drawing - into and on top of.
Sculptural volume is manipulated to form indentation lines. These lines connect one corner to another and delineate space.
This produces a framework, which allows for a consideration of function.
The motif or ‘idea’ of a leaf encourages subsequent visual ideas.
They are visual wanderings. They portray a visual ‘thinking through’, in order to encourage ‘seeing in’.
The paintings are accumulations of interruptions - pauses, false starts, and fragmented clues.
Deliberate obfuscation complicates legibility. I am interested in the process of excavation that ensues (during making and viewing) and how this might translate into a sensation of compression and decompression.
My work is not autobiographical, a consequence of my beliefs or psyche – it is a result of things noticed, measured and assembled.
The paintings refuse to give into the idea of the scriptic authorial touch. They are not about me; they are through or of me.
I am interested in paintings’ autonomy – a consideration of the thing itself rather than reading into what is not there. I preference the sensorial - seeing into as opposed to projecting onto. The works are a gentle confrontation.
They are not demands. They are suggestions.
_
My concern is to foreground ways of looking and perceiving, to encourage the possibility that the act of looking itself is content. I deploy cultural references and excerpts from other art forms to investigate the languages and histories of painting. These Images are identified intuitively for their subsequent painterly potential. This has recently included various visual phenomena such as light effects and surface textures. The process of synthesis is gradually distilled through an associative process of placing, replacing, collaging and drawing - providing scope for them to fall away, settle and mature. This allows for the possibility that something will be created rather than illustrated.
I navigate different modes of picturing - flat, modelled, effervescent, translucence - employing multiple modes within the same painting as well as dispersed over several connected works.
Configurations of intersecting under/overlaps might encourage the viewer to switch between different patterns of looking.
Recent work comprises black-modelled leaves in various configurations.
The historically reoccurring motif of the Acanthus leaf suggests something classical, decorative, and ornamental.
I exploit its connotations as simplistic, anodyne decoration, to explore more purposeful visual ideas.
The black paintings consider the act of drawing - into and on top of.
Sculptural volume is manipulated to form indentation lines. These lines connect one corner to another and delineate space.
This produces a framework, which allows for a consideration of function.
The motif or ‘idea’ of a leaf encourages subsequent visual ideas.
They are visual wanderings. They portray a visual ‘thinking through’, in order to encourage ‘seeing in’.
The paintings are accumulations of interruptions - pauses, false starts, and fragmented clues.
Deliberate obfuscation complicates legibility. I am interested in the process of excavation that ensues (during making and viewing) and how this might translate into a sensation of compression and decompression.
My work is not autobiographical, a consequence of my beliefs or psyche – it is a result of things noticed, measured and assembled.
The paintings refuse to give into the idea of the scriptic authorial touch. They are not about me; they are through or of me.
I am interested in paintings’ autonomy – a consideration of the thing itself rather than reading into what is not there. I preference the sensorial - seeing into as opposed to projecting onto. The works are a gentle confrontation.
They are not demands. They are suggestions.
_