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Nina Bovasso

Nina Bovasso


2011 Small Town Pinot Noir

Traveling in a wider circumference.

I am predominantly a maker of works on paper. However my oeuvre expands to include paintings and sculpture, with varying stylistic out-put. I have several different bodies of works which I create simultaneously.

With this production, experiments and strategies on how to construct a painting lie at the heart of my making. An element of surprise is important. Mainly formally driven, I do not start out to implement specific meanings, however in sculptural ideas, I have observed themes of cruelty and a sort of parody thereof.(bludgeons; impalement stone)

The series of backwards/transfer paintings I started a few years ago, was initiated in that there is a liberty in painting on plastic, and then transferring it to a canvas support, without concern for final composition. I appreciate the poetics here, that the under-painting is now on the visible surface. As well, these paintings  are simultaneously painting, print-making (transfer) and sculpture (casting of plastic surface).

My large scale diptychs on paper grew out of the idea of skewing the horizon line of 2 landscape-oriented works. Placing the 2 halves together also offers surprise in composition construction. I seek these to be a spacial field mirroring on a 1:1 basis the human form. Simultaneously micro and macrocosms, the surface is made active with varying textures and mark-making and visual time.

I am ultimately driven by formal decisions to decode meaning in the making.

My work is a kind of anti-design or pattern gone amok, with a flatness  and pop sensibility. The obviousness toward the hand-made conveys a tactile world. The idea of surface as phenomena becomes more important as we move  deeper into the habitual usage of the digital interface. I am lately inspired by textiles, ancient Asian art and texts, and observations in everyday life, the Heresford Mappa Mundi and California funk artists. Very recently a Japanese theme has emerged.

Constructions resembling kimonos, reinsert the use of textile influence. As well, they better consider 2-D form as sculpture, and the idea of surface of phenomena — particularly as the digital interface becomes more omnipresent.

Although I have not implemented a meta-narrative of meaning, I do seek to challenge, somehow, particularly for painters, an expectation of stylistic cohesion. I revisit themes and ideas and evolve on these in an unstructured time frame, over years sometimes, hence the wider circumference.

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