Her core belief is that the visual expression of an idea often opens a door to a valid dialogue that can be verbal or just internal to the viewer. She explained: “Some people get the idea behind a piece right away, but for others it may come later. Since the subjects I bring up can often be tricky to talk about, the visual expression makes it accessible and easier to examine.” The ideas she tackles are big and complicated. As a result, Londir works in thematic series to fully explore concepts, with each piece building on previous works. Her series of 29 textile pieces called “Compartments” has behind it the ideas of overpopulation and overcrowding; close living conditions, especially in poor neighborhoods; and the idea that buildings are going upwards as opposed to outwards due to land shortages. The result is living spaces that have become more compartmentalized. “The concept began with my reaction to photographs of areas of poverty in third world countries where people lived in dumps converted into villages. The dumps were colorful due to the preponderance of printed materials strewn on the ground,” she said. “I also wanted to say something about low-income housing projects and apartments with residents too numerous for their intended size, clustered in congested high rises built closely together.” More deeply, she wanted to say something about sustainability and livability with the rapid growth of world population, which is expected to reach 8 billion by 2025 and 9.6 billion by 2050. “The common denominator in each piece in the series is the bird’s-eye view of dwellings that illustrates the constraints of the inhabitants residing in their own compartments,” she said. Notwithstanding the weighty subject matter, the art is beautiful to the eye with balance, harmony, integration of contradiction/contrast and the opposition of themes, color and form. Pieces from this series have been shown across the country, including at Stanford University in Palo Alto, CA; Annapolis, Maryland; Dallas, Texas; Wichita, Kansas; and Scottsdale. Londir works with a variety of mediums including oil and acrylic paint, encaustic sculpture, textiles, gourds and glass. “At different times of my life, I have different things to say and some mediums work better than others for that conversation,” she explained. The foundation for her work in oil paint refers to underlying structures, what lies beneath, the past, and where we have come from. Her view is that often the past is obliterated in favor of newness, the old being deemed dated and unimportant. The past, whether of a being, a memory, a place, a building or an object, is not universally exalted.
Im age s A Z.c om
Published on May 28, 2015
June 2015 Edition. Images Arizona magazine is distributed to Desert Mountain, Carefree and Cave Creek.