Site responsive installation for the Emerging Photographic Artists of Canada exhibition in Toronto, Canada.

Together We'll Show You How Time Changes the Colour of Our Skin

16.5 gauge annealed steel wire and concrete

Dimensions variable, 20” x 71” x 12”

Point A to Point B

Original watercolor painting by Inga Simonyte Deniz
Watercolours on 300g Cold preassed Canson Acid free Watercolor paper 29.7x42.0

''Attending Swimming Classes''

I used old fabrics that were initially intended to be used for scrap rags. The stitching form is somewhat arbitrary - The length of the lines produced correspond to the length of the thread.

Idle Hands (flutter)

A series of figures designed with Fibonacci's number in mind. The curve of the figure is in keeping with the golden spiral and the grid and line help accentuate that motif.

The drawing was created using a range of black and white pastels, on PastelMat paper. I choose to draw in greytone to emphasise the values, creating dramatic lighting and a deep atmosphere. The resulting image is realistic, yet expressive.

Fibonacci Female Figures I

Looking at nature and enjoying the rich blend of colours and patterns, as well as shapes and forms has always inspired my work and through tufting wool, I can interpret nature into a home setting. By essentially painting with wool, I can mirror scenes of nature and create striking pieces of work that embody all the aspects I’ve come to love within craft and design. From base materials to finished piece, I am involved and can draw knowledge from multiple practices, be it woodworking to back a piece or sewing to complete a cushion.

Tufting nature allows me to mirror the depth and otherwise unique colours found throughout the year with the changing seasons and apply them in a rug or wall piece that encapsulates that scene long after the colours fade in nature. From a photo or a memory, I can recreate form and tone in wool which can then be shaped and carved to create deeper yet subtle curves with sudden sharper edges that can only be found in natural environments; creating pieces that captures nature in a somewhat abstract way. 

The idea of creating a detailed, multi-layered piece of art that essentially is  a  rug, provokes the idea that perhaps it shouldn’t be a used as itsintendedpurpose. I like to challenge the traditional idea that a rug is just a decorative piece of floor furniture to accent a room, instead questioning if it should be a displayed piece, not to be walked over.

Natural Homes

21,5x30 cm, mixed media on hand made cotton paper

DYBBUK

Exploring how to rebuild the body experience by alienateing the body and creat my bodily self-portrait.

The Bodily Self 1 

These didactic collages/posters are isolated excerpts from the Warm Bodies, Ghostly Specimens, Stoic Machines digital e-book and printed textbook. To view the full e-book please click on this link: https://indd.adobe.com/view/fa234364-49af-46ca-b61c-2660f55a004e

Art, Science and Spirituality inform my systematically installed networks of cultural specimens. Accompanying didactic classification records dissection, modification and preservation of hauntological memorabilia within my familial home. Investigative phases recollect my fragmented Japanese heritage; personifying selfhood within a discourse amongst deceased ancestors. Warm Bodies, Ghostly Specimens, Stoic Machines materializes symbiosis by hybridizing tangible genealogy and intangible vitality.

Warm Bodies, Ghostly Specimens, Stoic Machines | Textbook Pages

I have used palm oil in several works. Palm oil, combined with gunpowder and lemon juice, was poured over slaves to cover bruises and marks before they were sold. There is an interesting layering that happens here with palm oil as a commodity but also the enslaved as a commodity. Previously, in a performance, I covered my body with palm oil. The obvious next step was to create casts in an attempt to merge these two. While walking in Richmond, Virginia , I started picking up bricks to use as a base to place my casts. Part of my research led me to the history of the brick in the US, where slaves would harvest clay from the James River to make bricks. Based on the research I decided to create a monument, where the casts would lay on top of another to impart the sense of a pile of bodies. Eventually, these palm oil body casts melt and disappear. The large cube/base made of 1000-1400 bricks is the only thing that would remain, giving the sense of a removed monument.

The following weeks after the performance, I proceeded to go back to the site of the performance to collect bricks. I would collect 10 - 15 bricks at a time to place them back to the locations that I took them from. Due to the palm, gunpowder and lemon juice that melted on them, the bricks would stained with this mixture. This act would reinforce the removal of my action and my temporary monument. I consider these stained bricks that are embedded on the sidewalks of the city of Richmond as small invisible memorials. The markers in the map above are a few locations where bricks were placed back.

The Impossibility

Blue screen is a post-production technique that allows image manipulation. By using an even, blue background, the camera-recorded action can be transferred to completely different scenery. In his performance, Przemek Kamiński refers to the cultural history of the colour blue, approaching it through the prism of the ancient Greek term pharmakon, meaning medicine, poison, and something that must be sacrificed. The artist creates a series of vertical landscapes, in which a body irradiated by the colour moves between the visible and the imagined. The first and second plan, as well as viewers’ fantasies, blend into each other, while the identity is negotiated along and across the surface of the screen.

photos: Maciej Zakrzewski for Art Stations Foundation by Grażyna Kulczyk

Pharmakon (it radiates)

Drift 1

1006 plastic bags, 113x53cm 2021
 
This piece was made during the height of the pandemic and in the aftermath of the devastating Australian bushfires in 2019/2020. It was hard not to adopt an apocalyptic mindset, it still is, yet when chaos integrates itself into the everyday, I find piece knowing my existence is but a fleeting moment on an infinite timeline.

As one concerned with loss and extinction I can only relinquish to the thought that this is nature, I am , my thoughts are , my smartphone is, just as plastic is too. Does life cease to exist when I do? No, of course we know that, it simply passes by. Just the same as nature, it never ceases. There is no doubt that plastic will become and perhaps already is a time stamp on earths geology, a slither of time buried beneath infinite saplings.

Infinity Infinity Infinity

cigs

Image #13 from my lastest project Prototype.

My ongoing work Prototype is an photographic investigation based on rethinking the fundamental concepts and principles in photography.

In Prototype, my idea is to exceed the traditional concepts of light and reveal its intangibility. A new form of digital image does not only measures light concerning colors but also emphasizes a kind of separation. Light, as the most important element in any photographic process, diminishes its importance in its final stage, so it is no longer recognizable at the first glance. Light emphasizes contours, and trying to persuade you that the camera is your eye’s prostheses, but it’s actually not. Based on the illusion of photography’s time-freeze action, it emphasizes a phenomenon of acceleration that is obliterating our experience of distances and dimensions.

I am attempting to find the ambiguities in these pre-defined photographic rules, and using visual language to interpret the natural sensibility and homeless part in images.


Prototype 13

Imaginary house

Oil on canvas
80cm x 90 cm
2021

Evolution of Inspiration 

This painting shows the process of creative implementation of an idea. The chosen colour palette reveals all aspects of the creative process from the search of an idea, from the nurturing of this idea to a point where it's taking desired shape followed by catharsis. 
Thinking, analysis, endless doubts are expressed by a violet colour scheme, and the answer, the epiphany is shown by warm colours.
This painting won:
First prize in the International Exibition & Competition St. Petersburg Art Week (Summer 2021)
Second prize in the Vanguard Today international competition in the Abstract Art section, in the Pro category (Summer 2021)
Silver Award in the International Abstract Art Competition CamelBackGallery in the Abstract Art Section «Shades of Purple» (Summer 2021)



Evolution of Inspiration 

Compositional poem using exploratory vocal looping, field recordings and poetry.

The Warning

Titled: THE KEY
Medium: acrylic and charcoal on canvas


The key

Only the sky, only the wind Only joy is ahead! People riding bike. Original figurative painting. Contemporary art. Acrylic, spray on canvas. 

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