Ander maatschappelijk thema

Figurine Piccole Figure

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This work is a documentation of intentions, memories, visions, perceptions, and movements that took place inside my temporary accommodation (my room) in Utrecht from 2020 to 2022. During this research time I was challenged to examine the various approaches in my practice. Once I arrived in the Netherlands, I immediately began to think of different possibilities and strategies for approaching it. On finding out that my current home will be demolished in the near future,I began reflecting on the concept of studio space and on the domain of the studio more generally. My reflections culminated in the idea of using my room as both a studio and an artwork in itself. At the same time, I was thinking about the translation from the digital to the physical world. Initially, I considered the medium of painting as a means to translate digital reality to physical space. Utilizing my perceptions of time and space, I searched for a way to translate time as a container for images. Small watercolor depictions of myself appear to be walking, jumping and hiding, exploring the architecture of their temporary dwelling. The depictions, which were extrapolated from a selection of smartphone images, seem to disappear through holes, cracks, crevices, and into the texture of the wall plaster itself. Through the use of the strappo, (a technique used to lift and remove the topmost layer of plaster which has absorbed the pigments of the painted surface), applied in the field of art conservation, the room itself was split into almost twenty partitions and was physically carried elsewhere. Therefore, the various layers of paint have been torn off the wall. The aim of exhibiting the spaces, or more specifically fragments of walls in addition to memories of images and architectural remembrance, speaks more generally to the transportation and translation of environments from one site to another. As an act of marking absence into presence, painting becomes a daily procedure where images are elaborated to eventually disappear and to lose both pigments and components over time. Essentially, I am referring to a ritualistic way of proceeding my practice, as a mechanism (rules I defined) to be repeated in an effort to orchestrate the whole and generate a certain rhythm in order to generate the work. As opposed to my earlier apprehension about living in a precarious space, I realized that I was able to contemplate the temporality of the space, addressing questions and researching strategies to incorporate into that particular time span.