Zarina Keyani
The current work examines landscapes and how to contain or organise
them. The paintings are an autobiography
of experience and memory. The 'essence' is what is being translated. A
landscape transformed.
Acrylics and oils are used to create colouristic surface effects. Bands
of colour move with and against each other creating a push and pull effect or
tension within the painterly space. Motifs
are formed from the displacement or interruption of modified colour
bands. The resulting grid like structure
is comprised of component squares, where sharp detail
contrasts with interest at the periphery of the visual plane.
The accumulation of marks and lines emphasise the shifts of colour which
act as veils merging ground with foreground, softly exfoliating the background.
The prints and watercolours are a not only a further abstraction of the paintings
and the landscape essence but are a dialogue between work on canvas and work on
paper, each forming an integral part of an on-going conversation.
Sketches and photographs which act to some degree as sketches also form
part of the process but are more a digital record of the experience. If anything they confirm that the paintings
and prints origins are from the real ‘paraphrased’, filtered and reformed.
Artists who have helped inform the work are various; however the main protagonists
are Sean Scully and Peter Lanyon.
Zarina Keyani
May 3rd 2012
Bibliography
Jon Thompson, 2007. How to Read a Modern Painting. Edition. Thames & Hudson Ltd.
Bibliography
Jon Thompson, 2007. How to Read a Modern Painting. Edition. Thames & Hudson Ltd.
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