MAAPZ - Women Artists Collective
“Perhaps gesture is best understood as the moment when thought becomes visible, tangible, or palpable, staged and framed as form - something to be held and to hold us in mutual prehension."
Utopian Gestures, The Poetics of Sign Language, W.J.T. Mitchell
Angela Paola Rossi
My artworks are not concerned with traditional notions of painting and drawing but prefer a distinctive unrestrained method of construction akin to improvisation. There is a distinct connection between the drawings I made as a child and what I do now.
From an early age playing with earth, the act of mixing and building formed part of my daily routine as a means of communication and expression. These works take my improvised gesture and bring unknown quantities, challenges, riches to the practice.
I am interested in the balance of a painting and what colour, or lack of, structure and use of material can evoke to us. Plaster is a medium I use to work with. I like questioning the process of painting through this medium, either working in figurative
or abstraction. A sentence which lends to this idea could be 'Colourless green ideas sleep furiously' by Noam Chomsky. The non sensical though real meaning to this sentence and the word play gives me inspiration towards what is abstract. A
relationship with the negative and the positive, space, placement, time and for this series what the word ‘gesture’ can propose.
My work looks at notions of the sacred, from both an anthropological and contemporary perspective.
Materiality and process play an important role in my practice , particularly the process of annealing the copper, and the resulting changing surface. I work intuitively with a hands on approach being integral to my work.
I am interested in the use of contrasting materials, the particular piece shown at the Ply Gallery uses the narrative of ribbon and knotting, related to commemoration and prayer.
I also have a strong interest in the juxtaposition between contemporary capitalist society, and spirituality.
My influences include Mona Hatoum, her use of materiality, Christian Boltanski, his ideas on memory and Anya Gallacio’s use of the ephemeral in her practice.
My recent work explores and challenges perceptions of brokenness, use and durability. Drawing on conventions of museum display, mono-prints on carbon paper are dimly
lit as if to protect the life of the object. Inherent in the prints are a fragilty and impermanence. Images of objects often mass produced and unremarkable convey subtle impressions of their past function - clothing, dish cloths, plastic packaging and exist only tenuously for the carbon paper is unstable and will fade if subjected to the light. The focus is on their disintegration; the language of holes, frayed edges, split seams, objects creased and tangled.
I am fascinated by the concept of repair and much of my practice explores our emotional relationship to worn objects and our cultural preoccupation with the shiny and new.
I am inspired by the Japanese tradition of Kintsugi; mending a broken pot and filling the cracks with gold as a celebration of its past history and as a mark of resilience, but my work attempts to reinstate notions of value in the ‘not mended’ and to draw attention to the beauty in the flawed and downright broken.
Instagram - @mothandco
I do not make classically beautiful objects. I offer instead an alternative order of things, that exist as imaginary and fragmented.
Working intuitively and spontaneously allows me to capture and express the conflict and vulnerability that I sometimes feel, like wading through the harsh reality of being both solitary and attempting to be courageous in the studio.
I start by collaging parts together to form a skin, working through the relationship between the self, the material and the object. Using soft clay and found materials, I construct
sensitive, emotive, abstract forms.
Drawing is central to my development of ideas, along with a playfulness and improvisation with materials. I use a variety of printmaking processes incorporating these into my practice in different ways.
I take an experimental approach to my work, and it is here that my mind becomes a melting and growing nerve centre, registering an in-betweenness, where strange things start to happen, that are often un-controllable. Each work is individual. I am striving to create a unique language, that is caught half
way between gesture and thought, and theatrically transformed by glaze.
My art is cathartic, drawn from a well of personal experience and the rollercoaster of daily challenges bringing up two autistic boys. I intend to create a platform of communication for the “unspoken” and a dialogue between combat and collaboration in “complex” relationships. I reach out beyond the myriad of clinical and social labels, which define and influence how we view people, objects, and how in turn we are viewed by society. Beauty can make us stop to reflect and take a “second look” but sometimes we need a bit of encouragement when it is not so obvious.
The definition of “Rubbish” is: waste material, refuse, litter, discarded things considered unimportant and valueless. It is easy to turn a blind eye to what we consider “rubbish” we glance once and look away or simply turn a blind eye. I am like
a magpie I pick up shinny things amongst litter, I scour factory and foundry floors for scrap metal. I recognise beauty in things discarded and I want to give things a chance to be seen out of context, looked at in detail, to entice people to look beyond a first impression upon which often sets a label. I look and explore the idea of fragility and how the first gestures inform how we perceive others.
Instagram : alisonlamart