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Gate of Confession |
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Good Luck Gold |
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Legacy as Foundations |
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Vault |
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Tower of Babel |
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Ark |
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Extended Family |
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Flower Constellations |
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Muse |
There is an assertive spirit in these interior related paintings
that gives a feeling of something taking over.
The presence of a painting in relation to a given interior
context is a quality by which the audience can appreciate certain effectiveness
in a work. Some paintings of weaker presence and content require a lot of help
from gallery types of isolation set-up and most of such works desperately
connect to the meaning of the cult value of art through the context of the
gallery/museum. The recent works of Amy can co-exist with the presence of real
furniture and all sorts of articles in any venue or people walking in the
middle, and is capable of setting a mood/environment on its own. Its sense of
meaning doesn’t require an attachment or ride to a venue that dictates what art
is. Both In the subject and spatial requirements of her works, art is present
in everyday context. You don’t need to go to a museum or for works to look like
it is from a museum to feel the intensity or meaning of art. This doesn’t mean
the theatrical conditions in a white cube setting would be meaningless, for one
reason it may be the only time audiences can see the works together and I can
only imagine for each work to be like windows or doors to rooms that are about
to pour and pop out its contents.
Decoration is another aspect of these paintings wherein issues
arise. A wall bound work regardless of its serious qualities, as authentic art
is in fact used one way or the other as decoration in a house. In most cases
the more prestigious work is used as a centerpiece in an interior. Unless it
doesn’t get hanged or you have a space equivalent to the setting of a gallery
then all paintings are decorative. Therefore, having a relation to
ornamentation cannot be assumed negative, especially now that low brow has its
own niche of appreciation. The paintings of Amy contain elements of decoration
that uniquely doesn’t sink into the background, actually the use of decorative
elements are aggressively elaborate that it overwhelms. Here the flowers can’t
be seen as captives as they are more of breeding, expanding and sprawling in
various dimensions in the pictorial space. There is a progressive track here
where we can trace to genres of still life, flower paintings, indoorscapes and
base abstraction. That progression is another value we can observe in contrast
to paintings that use or align itself to art historical imagery or concept but
fail to move forward, and even works that use obscenities or gruesome imagery
that cant get pass the predictable. In comparison to the use of elegant
imageries of commonly known beauty normally by passed, but now rendered in an
assertive stance in the paintings of Amy, those other kinds of paintings
mentioned are the ones that could be deemed passive and safe (to what is
commonly accepted in the popular art scene).
The homemaker instinct demonstrated through Amy’s recent works
includes the primal tendency in nest building where elements are gathered from
places the builder has been, and also the territorial protectiveness that
enables vicious attitude to manifest. In making sense of the clutter in each of
the paintings, it can be detected that these elements are not in the state of
having been left behind and on the contrary is in an active change. It is more
akin to somebody rearranging or just moved. It is a picture saying that this is
not home yet, but it will make up home. The literal image of the interior is
not given, better to inspire imagination of what could be done. Although, an
ambience is already present- a particular quality from a person that
established a home in mind and rendering it in wherever location is at present.
Amy draws from personal experiences of re creating homes in various cultural
settings as she lives with her family in various places for periods. Now that
she’s in Canada there is warmth in the colors of her scheme fit for a winter's
gloom or plainly, she could just be carrying over some elements from places she
had lived before.
Regarding territorial characteristics, each picture relays that
you cannot just come inside, despite the visibility of space. As mentioned, it
overwhelms by having the tendency to spill over and not to invite. This is
evident in its heavy and massive feel. The picture engulfs whatever element
comes near the work making it a contained part. The works imposes its presence
and challenges undertakings.
The build up in the paintings is descriptive of the inner
workings of Amy's creativity. The choice and arrangement of elements comes from
successions of personal creative stages that fluidly manifest through instincts
gained through mastery. This range currently expands further back, as she
connects to recent knowledge of her grandfathers creative works of sculptural
crafts, and also forward as it assumes the culmination of what she has been
doing with added new sources of imagery. The build up results to an arrangement
where the layers are mashed-up together. Melting, sprawling and interlocking
one element to another forms an almost purely foreground-ish mass of thick
density. The pictures await the background that will stage them as well as the real
life elements in any given setting it could include in its collection of
matters.
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