Irena Romendik
ART Habens
movement drawings I play with both time and a path, and you can see it as an invitation to mental dance rather than walk on a straight line. When I draw a flower, I become an ant travelling on a petal, tripping on a bumpy anthers and drinking sweet juices from a stigma, while being a human desperately trying to translate intricate smells with black ink on a piece of paper-- inconceivable translation. And even though most of what I try to communicate is innately non recordable, something in between holds a shape of a negative space previously occupied by the thing and at least mirrors a shadow of an incommunicable. And as Orpheus-- it’ s probably better not to look back to it, because of its quantum quality to dissolve on touch.
I avoid symmetry and static harmony, and prefer balancing act to stability of the completion, because I invite my viewer to enjoy the dance of time and flow of movement. Stillness for me is a rare nervous interval before the next leap-- always on a tip of a toe, ready to take over. I believe that it’ s impossible to“ finish” a painting. Even the ultimate stillness of death commences new beginnings. For example, I was trying to catch it in my portrait of a lamb( https:// www. flickr. com / photos / voidit / album s / 72157652053749035) far beyond the horizon, both in front and behind the viewer, and unobtrusively invites one to take a journey over that path. I find Michel Foucault’ s description of Las Meninas very insightful in this regard. In my
I consider a physical object of an artwork as an overture of a compressed energy that can unfold possibility of sharing moments of awareness. I don’ t abide to any uniform structure in my works, neither I follow pure intuition. Rather, I combine multiple factors, including all surroundings, the dance, bodies, music, memories, associations, composer, my own humanity, weather, temperature, city, materiality of the floor, and everything really. The only retaining factor is probably that I’ m trying to depict
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