Learning a few new moves 👯♀️🙌🏻
14+ years later and the greatest basketball bet (with original docs) still exists. My car will be tainted until 12/31 when I can rid myself of the @lakers
license plate. @stevenplutte
"Energy and motion made visible - memories arrested in space" #pollock
Close up.. really enjoying the colour palette in this one
I’ve worked my nuts off today to get my designs up for sale on Etsy, feeling really proud. Here are a few of my pieces - I’ve got a pair of the socks on now!! 🤙🏻
“Do you feel pressure to be a respectable person of colour because you’re in a Greek organisation?” #TheTakeoverPod
Thinking through abstract painting, critical theory and the non representational - another wonderful edition by Turps Banana.
This line in particular stood out to me: "An image has the meaning we're allowed, and indeed expected to notice, but it also has a sort of subliminal message designed to reinforce the values of whoever is in charge"
Painting is just another way of keeping a diary.
You may have noticed a considerable shift in style and subject from artwork created during years 2016-2018. This is due to an understanding of what it means to create work in a post-war generation and the consequences this holds on your practice. In the link below you can find a piece of writing entitled ’The relationship between trauma, affect and creative practice’. For a period of time during 2017 I stopped creating art based on the findings from this paper and it altogether changed how I view war based artwork.
This paper focuses on the question of what happens in the place where artwork is made; can it pick up the atmosphere of certain places where terrible things have happened? I intend to open up a discussion on affect theory; if the land itself can hold onto trauma with the artwork becoming representational of the place it was made, focusing on the material memory of its habitation. Part of this essay will focus on the theorist Brian Massumi (1956-) who draws numerous theories based upon affect. There will also be a discussion on Teresa Brennan’s (1952-2003) theory The transmission of affect (Brennan, 2004) who claims that the emotions of a particular person can be soaked up and enter someone else directly or even be transferred onto a space. Following this, there will be questions raised concerning whether distress can be inherited through the children of traumatised parents through a transgenerational consciousness. Looking into transgenerational affect theory could help me to understand how artwork can become transformed depending on where it is situated and where it was created. I will then look into scientific research and papers by Rachel Yehuda (1959-), which offer insight into how psychophysiological trauma can have residential effects. I will look into the ways of how artists such as Anselm Kiefer (1945-) embody affect. Kiefer belongs to a generation living in Germany after World War II and his work carries the burden of history, despite not living there through wartime.
You can find the full paper online on my website as follows: http://melizsabanci.weebly.com/writings.html
Every time I view this painting it seems different.