Cristiana de Marchi
Italy/Lebanon, born 1968
Lives and works in Beirut, Lebanon and Dubai, UAE
Cristiana de Marchi’s practice explores social and political terrains, from memory, places of the past and present, identity and contested borders to the paraphernalia of contemporary nationhood. Using textiles, embroidery, film and performance, she instigates processes that draw attention to currencies of power by exploring their structures.
These systems are interrogated by extracting the signs and symbols that constitute them. She lays bare the power latent in flags and their colours, passports, places, statistics, sociological models, words and letters. Focusing on often-overlooked details, attention is called to how the apparently innocuous every-day are the essence of larger structuring schemes.
Having seized on a sign, she distils it, breaking it down into constituent elements through repeated and cyclical processes such as stitching and undoing or filmed transformations such as ice becoming to water and inflated balloons progressively expanding and bursting. Each process, each work, revels in the potential of progressive transformation. Words are physically expanded to bring focus on each letter in turn, suggesting the invested power of their signification. Flags are drained of colour prompting renewed consideration of their insignia. Maps are pulled apart, the gaps between the frames flooded with memory’s faults. Neutralised black and white maps elide borders and the apparently impenetrable thresholds of public and private spaces, demonstrating that that which seems unchanging has always in fact been fluid.
Scrutinising etymologies, maps, spaces and the symbols of nations, de Marchi draws attention to their function as signs. By revealing their physical or symbolic composition, she outlines their position within greater structures, gesturing and implying the mechanisms of conceptual significance too. The explorations focus less on the complexity of what each means socio-politically or biographically, instead prompting considerations of how each has come to have meaning. Lingering on these symbols, their signification is unwoven; that which is taken for gra
Static in the Portal, Oil and Acrylic on Panel, 48x42”, 2018
North American, b. 1968
Lives and works in Northern California: Occidental and Oakland.
In a physical sense, Victoria Wagner’s abstract work lies in perceptual space, vibrational color relationships and craft. Of this, she blames her formative years spent in the high Nevada desert where light was sharp and dramatic, the mountains governed the atmosphere and the sky commanded more peripheral vision than one is capable. Conceptually, her research combines historical and contemporary pursuits of knowledge that run the gamut from space exploration to automatic writing to transcendence. She questions our eternal quest to conquer/understand the natural world using remedial, outdated tools and our attempt to comprehend human nature by the consistent application of psychological frameworks that are far too simple to measure the depth of complicated responses of which we are capable. Making the connection between the infinite nature of the cosmos and that of our boundless emotional landscape, Wagner’s work and practical research marry the esoteric, mystic, natural, mysterious and future possible. Her minimal yet unrestrained compositions (whether on panel, found wood or aluminum) combine recognizable geometries and color dynamic through natural, synthetic and industrial materials, layering the surface like a bold and complicated narrative in which one is often implicated by their own reflection in the pieces. Her unlikely pairings and structural mark-making bear visual and vibrational relationships in the tradition of Agnes Martin, Frank Stella, Constantin Brancusi and Barbara Hepworth. She was recently included in American Craft Magazine’s issue on Wood.
Reduced void, 40x47inch, acrylic and textile on canvas and panelIva.
Visosevic explore perceptions and al aspects of seeing as a series of fundamental questions that are philosophical in nature. This questioning always comes directly from her life, ultimately from the very human question: What is it that surrounds me here? What and how she transport that visual or non visual soroundings into her work. . Mistakes and contradictions in the understanding of the perception, for example through the play with illusion, deception and visual irritation are important aspects that influence the ideas and composition of the works, whether this is multimedial work , drawing or painting, she question the role and function of the picture and develops non-figurative painterly objects, the meaning of which is revealed through the act of observation. as an architectural element.
We can also perceive the space in front and behind the picture. The basic construction for this visual issue is the deconstruction of the structure and meaning of the object, the reconstruction of the absolute space, and the movement of the perceptual center within the gaps of the gaps.Iva Visosevic is concerned with finding expression for atmospheres and how to notate these things without using words and transfer them into drawing, painting or multimedawork...
Is not so important whether the things dealt with in the works come from within her or from outside. In the end this all remains the same space. To make these aspects communicable she utilize lines, colors, shapes and materials. Emotions are important parameters of her analyses, since every idea or perception is influenced by personal feelings.
Iva Visosevic is interested in the inner experience, attitudes, feelings, intuitions and visions and how to transfer them into visible reallity.