WHO'S COLLECTING ALL THE TEARS WE SHED? (REMAKE/R)
The kind of creativity that remains as indelible and insoluble as dreams
Who's Collecting All the Tears We Shed? (Remake/r ), a multi-part analog collage series, begins with a kernel - a feeling turned into an image which, in turn, remains permanently frozen into a single moment of recognition. The resulting body of work remains as personal, indelible, and insoluble as dreams, which may be the very thing that makes these collages so strangely familiar and yet so hard to decipher.Here is the artist operating in her own space and time, expressing herself to herself alone lost in creating a personal achieve by wrangling a pair of scissors as if she were an ancient warrior. Individually cut and glued, each element, no matter how small (some pieces of paper are as small as one-eigth of an inch wide, cut into various shapes) serves as a brushstroke to achieve a balanced composition guided by color. Figurative elements and biomorphic shapes, flower petals and tear shaped paper droplets, bright yellow lemons and abstracted limbs, Renessance women and modern jewels are just a few of the warring elements in these paper collages.The source material for these collages is mainly photographs of my own paintings mixed with advertising leaflets. Although the fragments are harvested from either a single painting and/or multiple paintings and promotional magazines, once the fragments fuse, they create a completely transformed entity generating uncanny resemblances that emphasize the lushness of life. The mystery of this embodiment intrigues me. Interested in seeing how far the paper can be pushed in terms of its materiality using exact and minute cuts on a small scale, there's enough room to explore the role of positive and negative space as resting places for the eye. Each mark, crease, bruise, and indentation is meticuluously chosen to create the final composition. Inspired by Hans Arp's and Joan Miro's adaptation of biomorphic forms, Wassily Kandinsky's joyful automatism, and Henry Matisse's approach to collage as a painting, this series of handmade paper collages explores the potential for unique compositional relationships that result from the unfussy yet harmonious arrangement of organic forms and non-representational and figurative elements in order to expand on the state of a woman living in a world that makes her feel like not enough - or too much - at all times, a world that keeps her in the in-between of who she is and who she thinks she needs to be.
- Visual Influences
Hans Peter Wilhelm Arp (Jean Arp) - his work is non-representational, yet firmly rooted in nature. His most abstract compositions suggest organic forms.
Twyla Tharp - is an American dancer, choreographer, and author. By combining different forms of movement – such as jazz, ballet, boxing, and inventions of her own making.