“The exhibition presents paintings on a scale hardly able to pass through a door
They are painted on the ground due to their inability to stand up
They are painted as pictograms with a bottom layer of pain and love
And an upper layer of dots, neutralizing pain and strengthening the love.”
(the author’s annotation to the exhibition)
The exhibition presents six grand-scale paintings formed in two layers.
The first one (bottom layer) is based on pictographic hieroglyphics’ principle and depicts human states and images resembling huge hieroglyphs. Each image is displayed in a short-frame time interval, as you would mark a first-signal image.
The pictograms are painted on the ground, similarly to large-scale Japanese calligraphy but influenced by my emotion towards Ancient Egyptian hieroglyphics.
The second one (upper layer) comprises punctuation of multi-colored dots of the same size and shape, diametrically opposing the bottom layer. Unlike the first, the upper layer occurs slowly in a much longer time-frame. Such a different approach, both technologically and symbolically, is a means of expression, setting the idea of dualistic principles.
A fundamental idea of the project is archetypal consolidation through bipolar provocation.
If the lower layer depicts the dramatic characteristics of my work, the upper one overcomes them. Through the exhibition, the beholder indicates happiness, harmony, and transience. All of those feelings’ nuances should be part of the commitment of women’s art. This positive, albeit based on anxiety and reality, should bring reassurance in the end. The points of the upper layer create another reality, paralleling and mirroring life itself. The alternate reality is a transcendent projection of our soul, painted with the heart while purifying all pain.