Migration I., from Migration triptych, collage, serigraphy, 15x10 cm, 2015 Foto: Kristina Rutar
For a generation of artists, the first romance with visual arts has been abstract expressionism: even if creative people donâ€™t get explicitly involved with abstraction, we could state that it remains the core mythology of contemporary visual art. I daresay that your works, and I'm particularly referring to the Migration triptych, aims to harmonize an impulse to abstraction with a steady reference to real world, whose reminders saturate each piece of the series. In this sense, your process goes beyond a mere assemblage of memories and invites the viewer to discover or better to elaborate a personal narrative: Do you conceive these
composition on an instinctive way or do you rather structure your process in order to reach the right balance? And in particular, how much do you explicitly think of a narrative for your works?
Well, I am definitely one of those artists who are in love with abstract expressionism. I have been affected by it since I was little, I will never forget the feelings I felt towards Pollockâ€™s work, when I was about thirteen years old. Everything about it makes sense. It opened my eyes. That not only strongly affected my work, but also built expectations I have for art. I relate to abstract expressionism because the artists worked very
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