Natasha Zupan

 

STATEMENT

This series, entitled "White Lies," is a search for the heart of the matter - painting itself.

It  reflects upon a material, and chemical approach to painting and  explores  how light, materials, and ideas interact.

 I believe in the continuity of historical and cultural exchanges as a form of communication and association. 

Old techniques such as the use of gold leaf, pigments, beeswax, and  embroidered fabrics are mixed with new  synthetic and  acrylic mediums  . 

This body of work  is  a pictorial  dialog between interwoven ideas,  light  and materials resulting in a collection of  tactile memories.


Natasha Zupan


The surface glittered out of the heart of light

 


In Burnt Norton from which the quote is taken Eliot refers to a gate  which opens to our first world.  Art is the gateway that guides us towards alternate realities.  Often a subtle, shrouded reality hides in mundane situations.


Natasha Zupan’s work juxtaposes emotions, reflections, shadows, light, time, images and abstractions in a confrontation between traditional representation and contemporary subjectivities.


Like Eliot, she manipulates and interweaves concepts of time. In her work time past and time future are united in a perpetual possibility of change. Her work captures the resonances, and the echoes and reflections of conflict and evolution. Nostalgic echoes of the traditional western concepts of art and beauty co-exist with the materials she employs to open the gates to a timeless, tactile world of sensation and overlapping memory.


Natasha Zupan’s work is not about translating a world that already exists. It is about an entrance to a different universe through the folds in the textiles and the cracks in the shadowy heart of light. She uses pure gold, white gold, palladium, virgin wax, embroidered fabrics, and newsprint. They are not random materials for collage, but substances extracted from everyday life that enable her to reconstruct and elevate memory.


Materials and emotions converge. Fabrics are coded with meaning, and emotions are infused with molding paste. Strokes of oil paint are imbued with shades and motions of desire, longing, torment, ecstasy, dream, and myth. By working through sequences a pattern emerges that establishes a visual dialog between interwoven, tactile memories.


Felipe Hernandez 2015.


The Violet Hour


My work is about the juxtaposition of emotion in time, and the confrontation between traditional representation and contemporary subjectivities.

This body of work explores the manipulation of surface texture, light and the interweaving of time.

Time past, and time future are united in a perpetual possibility of change. I try to capture these resonances of evolution in various types of representation.

It is not about translating a world that already exists, but about an entrance into a different universe. A timeless, tactile world of sensation and overlapping memory .

Materials and emotions converge: The surface holds synthetic binders consisting mainly of layers of inks, acrylics, watercolors, pigments, gold, fabrics ,wax, photographs, and oil paint. These are imbued with altered states of feelings and archetypal references .

I believe in the continuity of historical and intercultural exchanges as a form of communication and association.

The spacio - temporal confrontation is about the transience of tangible reality and the illusionary nature of beauty we can hold onto both visually and materially.

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El Mundo, abril 2016