Marcelo Brodsky

Im reading what I have written so far, and I came across this quote by Marcelo Brodsky from his book Buena Memoria, (2003). I really like this quote, it was one of the first quotes I had gathered before starting my research and I felt I should share it .

He stated : “Photography journeys through history, against time. Photography is an attempt in vain, to stop time, to postulate errors in its flow. In each picture, what is no more and will never be again is presented as though it still were, with the lasting bloom if flowers on wallpaper”.

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Artist Statment

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Charcoal drawing (Part of a Series)

Artists Statement

2013

My work examines the idea of discovering and preserving personal memories. In my recent work I have used a variety of materials and methods to reconstruct the idea of what was left of the memory. Such methods include photography, encaustic and drawings. In most of the work I want the viewer to relate their personal memories with mine.

In this series I looked at one particular memory, where I wanted to reflect my childhood memories at my grandmother’s house, through a series of drawings of particular details of the house from taken photos from today. I chose to work with old paper because of its history, its natural texture and intimate small scale. Furthermore I used charcoal because of its soft yet bold qualities, which somehow managed to capture and reflect the haziness of the memory.

 

 

New technique

ewen brown 3

For our drawing module we had to do some research, and I came across this artist Ewen Brown and his drawings. I loved the way he used line, and created a hazy effect reminding me of a faded memory.

I tried to recreate something similar, using chalk and smudging it to recreate the idea of a fading memory, hazy effect.

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A Review by Maxine Attard

Thea’s work is about memories, not just her memories but ours as well, of our childhood, the nostalgia that most often comes with them and a feeling of gladness to know that some of the things that surrounded us when we were children, are still there.

Nanna’s house reminds us of a common occurence that happens in many of our lives; when we, as young adults, depart from home for a long period of time to study or work, experience a lot of changes in many aspects of our lives and then return back after a long time to find that at home, most things have remained the same.

The feelings that we experience at this moment and after, is what Thea tries to capture in her drawings, photography and mixed media work – whether to find out what is evoking that feeling, if it is the familarity that comforts her, whether because nostalgically she wants to go back in time or, as in My Grandma’s Memory Box, she wants to capture and retrieve forgotten moments in fear that every thing that relates to her momories can dissapear any minute – we cannot exactly tell but can certainly relate to.

Thea’s work exposes memories that are considered to be personal and not often spoken about, in particular, child abuse. In Blue – Child abuse awareness, Thea emphasizes on the need to speak about this issue, even perhaps to some of us who have gone through such experiences and have buried them deep in our memories. We might choose to not speak about such things, but remembering is important since to us, such experiences might belong to the past but to children today, abuse can be very much their present lives.

Maxine Attard

 

My Online Portfolio http://www.behance.net/portfolio/projects

The Two Fridas

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The Two Fridas- 1939

Oil on canvas

Museum of Modern Art Mexico City, Mexico

A previously mentioned for my thesis I’m focusing on memories. Along the research I came across Frida Kahlo an artist whom I find her so interesting,  intriguing and tragic at times. At this point I was discussing memories and identity.

Through this artist we see how her past memories had directly effected her and her work, creating work with strong symbolic images. Like her work The Two Fridas 1939, here Kahlo combined “autobiographical symbolism with cultural symbolism, involving ‘memory work’” (Gibbons, 2007, p.13). In her work we could see how she was directly effected by her political views,  her tragic episodes in her life and also her relationship troubles and heartaches with her husband Rivera.This work was infact created during her divorce from Rivera.  Gibbons stated that “Kahlo chose to memorialize the dualities and inner conflicts of her identity” (Gibbons, 2007, p.14). 

The two Fridas are mirroring each other, both being dressed differently and representing different feelings, clearly showing the divided self of Frida. The one on the left ‘colonial Frida’ has a broken bleeding heart that sprouts an artery that divides, staining the wedding dress, possibly depicting personal anguish and pain. While the other, ‘Tehuana Frida’s’ heart is whole, sprouting an independent artery leading to a small portrait of Rivera (Gibbons, 2007, p.14). 

Anyway I thought I’d share this information as I personally found this work so interesting because of the symbolism, and story behind it. I also found it interesting because I realized why people hold on to memories, even depicting them,  because they leave a certain impact on people and their identity, like Frida Kahlo.

Gibbons, J., 2007. Contemporary art and Memory, Images of Recollection and Remembrance. New York: IB Tauris and Co. Ltd  (A book I highly recommend )

 

 

 

Lucian Freud

Artist: Lucian Freud
Two Japanese Wrestlers by a Sink
Completion Date: 1983
Style: Expressionism
Genre: interior
Technique: oil
Material: canvas
Dimensions: 78.8 x 51 cm
Gallery: Art Institute of Chicago, Chicago, IL, USA
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Recently a friend of mine sent me this picture, of Lucian Freud’s work, which reminded me of my current work, were I’m taking photos and drawing areas of my grandma’s house. I love the composition of the work, and the different tones and textures. He also managed to bring out an interesting and realistic portrayal of this sink.
Very interesting work indeed !