Stefanie Wolfson
Land scape
CONTEMPORARY ART REVIEW longer felt connected to . I took those works and destroyed them . I used their remnants to create collages . I was satisfied with the outcome of it and wanted to see if I could recreate it in a fresh way . I used an older screen , that I used for another edition of prints , and printed the whole page with that . I then layered the woodcut on top of it . This process creates a very interesting look when examined in person . The areas where the oil based relief ink sits on top of the acrylic silkscreen ink creates a sort of luminesces which adds an ethereal quality to the print .
What has at once captured our attention of Skull & Moon Diptych is the way it captures non-sharpness with an universal kind of language quality marks out a considerable part of your production , that are in a certain sense representative of the relationship between emotion and memory . How would you define the relationship between abstraction and representation in your practice ? In particular , how does representation and a tendency towards abstraction find their balance in your work ?
The relationship between abstraction and representative aesthetic is essential to my work . Many contemporary abstracted works of art , through overt and intentional abstraction , are not accessible to a casual viewer . Although my work is abstract , it is accessible and has a universal meaning to it , which I find many contemporary works lack . The fact that my work represents ideas and landscapes that most , if not all , viewers have experienced allows it to be enjoyed by a wider audience .
As you have remarked once , your landscapes are created as a form of meditation and we have appreciated the way they urge the viewers to evolve from a condition of mere spectatorship , drawing from their personal substratum in order to create a personal form of meditation : so we would take this occasion to ask you how do you consider the relationship between memory and experience in your process . In particular , do you think that personal experience is an absolutely indispensable part of a creative process ... Could a creative process be disconnected from direct experience ?
Due to the heavy abstraction and dreamlike nature of much of my work , its interpretation relies heavily on memory and experiences from the viewer . When making art , I am mostly concerned with creating an immersive experience for the viewer . This can be seen in my more recent body of work , “ Intimate Immensity ”. These works were based loosely on a chapter in Gaston Bachelard ’ s book , “ The Poetics of Space ”. Which simultaneously deals with the incomprehensible immensity of nature