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Peripheral

eries

agazine

Special Edition

Contemporary Art

Peripheral ARTeries meets

Gina Love Lives and works in Bristol, United Kingdom

Rejecting any conventional classification regarding its style, Gina Love's work draws the viewers through the liminal area where imagination and perceptual reality find a consistent point of convergence. In her body of works that we'll be discussing in the following pages, she created such insightful combination between abstraction and figurative, capable of triggering the viewers' perceptual parameters. One of the most impressive aspects of Love's work is the way it accomplishes the difficult task of revealing what lies in the subconscious mind of the beholder, as a reflection of the inner world, not only the artist's but also the spectatorship's: we are very pleased to introduce our readers to her stimulating and multifaceted artistic production.

An interview by Josh Ryder, curator and Melissa C. Hilborn, curator peripheral.arteries@europe.com

Hello Gina and welcome to Peripheral ARTeries: we would start this interview with a couple of questions about your background. You have a solid formal training and after having attended the Stroud College you degreed from the Plymouth University. How did these experiences influence the way you currently conceive and produce your works? And in particular, how does your cultural substratum dued to the years you spent in France inform the way you relate yourself to art making and to beauty?

Being an artist is a way of life and allconsuming at times, so of course, I would need to paint at home as well. This was especially useful when I would get visions   at 5am. As much as I loved the creative freedom, my experience of the other students in my year group at art foundation, was not that positive, in that I found them to be extremely cliquey. I’d say they were more interested in hanging around playing on skateboards, smoking and planning parties. Unfortunately, because I was bullied throughout my school years, resulting in the development of an eating disorder, depression and anxiety, I retreated socially at college. Dealing with these thought processes remain at the core of my work. I’m not sure if it is due to being bullied, or just the psychological make up I’ve become accustomed with, but I would say that most of my life I have never felt like I fitted in,

Thank you for having me! The invaluable quality of Art school is the capacity you have for the development of your practice as an artist. My course encouraged, but didn’t enforce full time studio practice. I found that there really is nothing like the freedom of being able to paint all day in your studio space.

SPECIAL ISSUE

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Profile for Artpress

Peripheral ARTeries Art Review - Biennial Edition  

Peripheral ARTeries Art Review - Biennial Edition  

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