Journey into the heart of a Japanese woman’s photography (日本語付き)

Coming across my favorite photography might be a result of accident. In other word, not consciously looking for your favorite photography would be the shortest way to meet good photography. When I first saw a series of Portrait of Second-hand Clothes which Yuki Onodera took photograph, many stuff fully moved me without prior knowledge of her background. At the beginning of 90’s in Japan it happened that many women photographers appeared. New term so-called “girl photograph” came into being against male-dominated photography community. Along with like this historical background, Yuki Onodera made a debut as photographer. Despite she was born in Tokyo and grew up in Japan, latterly in 1993 began to work based in Paris. Yuki Onodera tells the reason why one artist working in Europe. Europe has been comprised of many different countries and cultures. And Paris has functioned as crossroads which mean that many people in Europe passing through Paris. Furthermore she makes a point that it’s important for artists to view native country through being as foreigner.

yuki-onodera_001

Through seeing her photograph many people grasp her works as mysterious. It has been referred in her own words that there’re parts of vague at the process of her work. It would be hard to explain it though, she tries to pick it up sensuously. With the passing of the years it sometimes happens that she finally calls to her mind that idea contained like that meaning she’s never came up with at the process. That’s one that meaning of idea sometimes comes after.

yuki-onodera_002

It also comes to appear her sensitive part at the process of a series of Portrait of Second-hand Clothes when she shortly moved to Paris. She tells the story about its background. When she was thinking about photographic subject which is not Portrait but something different, she grasped second-hand cloth as feel like human’s shell. At the same time it took place that Christian Boltanski who is representative of french contemporary artist exhibited his works used a pile of second-hand cloth, she got herself down to his exhibition. At his show a bag was being sold 10-franc, spectator can leave with full of second-hand cloth in the bag. That is art installation that second-hand clothes assembled over the world are carried to another different place. She put its second-hand cloth hung with support like wire by the window of her apartment.

yuki-onodera_003

Through browsing her working process, opposed to my first impression that I see her work having lyrical description, she is interested in photograph in itself than making image. She tells that she explores that photograph is deeply influencing our knowledge and perception. At the same time two questions have appeared: what is photography, and what can be done through it? I thought I step into different dimension of photography not dimension of making image.

Written by Ryota Umemura  for International Foundation for Women Artists.
Learn more about Yuki Onodera here.

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Written in Japanese :

私にとって好きな写真と出会うことは、偶然の産物が生み出すものかもしれない。他の言葉で言い換えると、意識的に好きな写真を探さないことが素敵な写真に出会う近道だろう。オノデラユキの「古着のポートレート」に初めて出会った時、予備知識なしに私の心を動かしました。90年代の初頭、日本に数多くの女性フォトグラファーが誕生し、男性が支配していたフォトグラファーの世界に対し、その新しい潮流を表わす言葉としてガールズフォトが生まれました。このような時代背景をもとに、オノデラユキは写真家としてデビューします。

彼女は東京で生まれ育ちますが、1993年にパリを拠点に活動し始めます。ここで活動初期からパリを拠点に活動する彼女にとって、アーティストとしてヨーロッパや海外で活動する理由を述べています。ヨーロッパは多様な国と文化で構成され、パリは多くの人が通過するクロスロードとしての機能を持ち合わせ、また自分が育った国を客観視することは、ものづくりをする人にとって必要であると語っています。彼女の作品を見た多くの人は、オノデラユキの作品を「謎」や「不思議さ」として捉えている。また彼女の言葉の中にも作品を制作していく過程で、自分でも曖昧で説明できない部分があり、感覚的に選んでいることがあり、何年か経ってこんな意味も含まれていたのだとようやく思い当たることがあると語っています。

パリに拠点を移した直後に制作された「古着のポートレート」のプロセスにも彼女の感覚的な部分が見えてきます。ポートレートではなく、何か違うものでと考えている時、人間の抜け殻になるような感じとして古着が目に付いたと彼女が作品制作の始まりについて語っています。またその同時期にフランスを代表する現代アーティストのクリスチャン・ボルタンスキーが古着を使った展覧会を開催し、そこに彼女は足を運びます。会場では10フランで袋が販売され、古着を詰めて帰れる。世界各国から集められた古着が、また違う場所へと散っていくというインスタレーションである。彼女はこの会場から持ち帰った古着を針金のような支持体にかけて、アパートメントの窓際に置いて写真を撮っていきました。

彼女の制作過程を通し、私が思い描いた彼女の作品から感じたリリカルさとは反対に、彼女の写真に対する見方はイメージ創出よりも写真それ自体に興味があります。それは、私たちの知識、認識に写真が大きく影響を与えていることに対する探求であると彼女は語っています。写真とは何か、 写真を通して何が可能か、私はイメージ創出としての写真とは別の世界に足を踏み入れたのだと思う。

Written by Ryota Umemura  for International Foundation for Women Artists.
Learn more about Yuki Onodera here.

Toronto based realistic Painter; Malinda Prud’homme

“It is my sincerest hope to make women feel empowered and uniquely beautiful just as they are.”

-Malinda Prud’homme

Malinda Prudhomme - Head Shot

Even though I’d been making art my entire life it never became a professional goal until my mid 20s. I’d always wanted to become a teacher because I loved learning and wanted to instill that passion in our youth. People generally like to say that high school “was the best time of their life”. It was the opposite for me. I didn’t fit in socially and was often bullied. In some cases my teachers even took part in ridiculing me and it wasn’t long before I realized kindness and maturity have nothing to do with age. Because of my personal experiences I wanted to become a teacher that students would feel comfortable coming to with their problems. I wanted to be there for those who had no one else to talk to. I worked my hardest to achieve this goal and while I do have all the necessary education and more, it just wasn’t meant to be. After I graduated the teaching market in Ontario was incredibly flooded and it was impossible for me to find work.

After years of feeling like my dreams were unattainable I decided it was time to start a new dream, a dream that had been within me all along but seemed too“unrealistic” to ever give it a try. If my “realistic” dream wasn’t panning out then it was time to go big! I’d already been making art part time so thanks to the support of my family I decided to go full-time. With that support and years of hard work and dedication I am proud to say I have been a full-time professional artist for 4 years now.

What keeps me so motivated is the message I try to spread using my artwork and my online presence. It is my sincerest hope to make women feel empowered and uniquely beautiful just as they are. The amazing feedback from fans that I’m fortunate to receive really keeps me passionate and excited about my work.

Q4 - Malinda Prudhomme - True Beauty - Alisha Gauveau“True Beauty”, “Alisha Gauvreau”

IFWA..You mentioned you were dissatisfied with the way the medias represent women. What do you disagree with?

I disagree with the lack of variety we see in our media. Quite often the women portrayed in magazines and advertisements fit into the stereotypical “norms” for beauty. Generally they are thin, young, and predominantly white. These women are gorgeous but so are others! I believe ALL women, regardless of age, size, ethnicity, and personal style, are beautiful in their own unique way. My message is not one the condemns the beauty of women who fall under societal norms but rather encourages all women to see themselves as beautiful. I would love to see larger women and women of different ethnicity incorporated into our mainstream media. I feel that variety is not only beautiful, but is the key to solving the epidemic of low self-esteem a lot of today’s women suffer from.

Q3 - Malinda Prudhomme - Curvy Beauties

-Curvy Beauties

IFWA..Do you see an evolution , or is it still the same as when you first noticed it?

I have definitely seen things change since starting my practice. A trend that’s becoming more popular is the acceptance that women come in all different shapes and sizes and that these shapes and sizes do not necessarily correlate to their health and certainly do not impact their ability to be beautiful. Perhaps I’m seeing this because I surround myself with like-minded people and am interested in topics that follow this type of thinking but I truly believe it is becoming more common and I can only hope that this continues.

IFWA..Did you ever had any difficulty working as a woman, to find work, or be accepted as a portraitist ? If so, what did you do to help you go through the difficulties ?

It’s hard for me to say whether or not I’ve been held back as an artist because I’m a woman. Honestly I’ve been incredibly fortunate to have had a good amount of work from the beginning. I think my skill speaks for itself and people who don’t respect women would likely not find my work interesting anyways as it revolves around the well-being of women. The only thing that I’ve noticed is how my language is interpreted differently, very likely because I’m a woman. I’m quite confident about my skill and my work. I would never dream of thinking I’m perfect or even better than others, in fact I never compare myself to other artists, but I have come a long way over the years and I’m proud of that. On occasion I’ll receive comments saying I’m “arrogant” or “pretentious” which is always from someone who doesn’t follow my practice. It’s frustrating that a woman’s confidence is seen as arrogance. But then again, I try not to take too much of what is said from strangers to heart. No matter what you do ,there will always be someone out there who dislikes you. You just have to be self-aware and know you’re doing the best you can do.

Q6 - Malinda Prudhomme - Colour Inspired - RAW

–Color inspired, RAW

IFWA..I must say your pencil drawings are quite touching…How is it working in black and white compared with color, or is it a question of medium?

Thank you! It can sometimes be a question of medium. For example if someone requests a charcoal drawing they’ll obviously be receiving an image in black and white but then again I do sometimes make the choice to do black and white with something like oil paints just because it gives off a different emotion. At this point in time I believe I prefer to work with color. The brightness and variety makes me very happy. But I can say from experience that working in black and white is much easier. Your eyes aren’t required to take in as much information. You’re focusing on darks and lights rather than colors as well as darks and lights. I think in the end it’s all a matter of preferences and I’m certainly willing to do whatever my clients wish.

Q5 - Malinda Prudhomme - A Mark Of Beauty

A Mark of Beauty

IFWA.. Your portraits of women really captures their personality . Who are those women and why them? 

Oh, I’m so glad to hear that. Thank you! When I first began doing portraiture I had to prove my skill so I would often work from images of models and actresses who had inspired me in some way. Now that I’ve gathered a following and people are confident in my skills I am able to put calls out to the public for images. Generally when I’m working on a new series I’ll post throughout social media asking for submissions of beauty stating that all women are welcome to apply. From these submissions I am able to choose, sometimes at random, who will be represented in my new works. I LOVE this! This was certainly a goal I had in mind when I first started because I truly want to show “everyday” women just how stunning they really are. So yes! They absolutely can be people I don’t know and have been! Anyone can submit to my calls! The more the merrier. :)

Q1 - Malinda Prudhomme - One And The Same

–One and the same

IFWA..Are you tempted to work with other medias then the ones you are using -mostly oil and acrylic -, say sculpture, clay, photography ?

You’re right! Most of my work is done using acrylic paint and oil paints. BUT I’m also a Mixed Media Artist so from time to time I like to pull out quite a few of my different supplies and put them together in a new series or artwork. I use pencil, charcoal, pastel, watercolor paint, gouache paint, encaustic (wax) paint, and have just begun learning airbrush. As far as sculpture and photography go … No, I’m not tempted to use them. My father is a sculptor but that just never appealed to me. I prefer working in the 2 dimensional plane. I do LOVE taking photographs, especially when I’m traveling, but I believe my shots are better used as reference photos for my artwork rather then incorporated directly into a piece. But you never know! Perhaps that will change in the future.

IFWA..Do you have any interest in working with other artist , collaborating on a common project / exhibition / performance? 

It’s definitely fun to work on collaborations with other artists as long as they have a similar work ethic. I take my work seriously so I would expect anyone I work with to feel the same way. Putting together a show with another artist and maybe creating a collaborative piece for it would certainly be something I’d be interested in.

IFWA..Is there a particular piece of work you are really satisfied with ? If so, why?

One of my favorite pieces to date is “True Beauty” ‘Delena Providence’. Why am I so satisfied with it? Hmm that’s a tough one. I believe it’s because of the look I achieved with the eyes. They are very mesmerizing. Another reason I might be so drawn to this piece is because it depicts a young woman who’s been in my life since I was toddler and I always felt she was special and worthy of being honored in this way. It could also be because this piece took a very long time to complete, putting in each strand of hair one at a time, so there is a sense of accomplishment and time well spent. And lastly because of the variety in her skin tone. Such bright whites and the dark shadows all taking shape harmoniously in one portrait is a bit of a rare thing and I like how it turned out in this piece.

Q9 - Malinda Prudhomme - True Beauty - Delena Providence

“True Beauty”,‘Delena Providence’

IFWA..What direction is your work taking , now?

I currently have an abundance of commissions I must complete so I haven’t allowed myself to go too overboard with planning original artwork/series. I do know that I would like to continue proving that a variety of women are beautiful using “everyday” women. I think that in order to change things up.

I’d like to start including geometric shapes with my portraits as a way of contrasting my realistic portrait style. I also plan to work on wood when I find the time in order to allow some of the natural grain to show through. In all truth I have a huge list of ideas I’d like to get to but for now it’s time to pay the bills. Working on commissions, while isn’t as creative, has it’s own rewards. There’s nothing like creating something that will be cherished and passed down from generation to generation.

On a smaller,scale, I’ve done collaborative works with my fan base, many of which are artists themselves. I held a contest this past year where anyone was able to take my initial drawing and turn it into their own artwork. It was amazing seeing all the different outcomes. You can check it out HERE.

 

Website: www.MalindaPrudhomme.com                                      www. Facebook.com/MalindaPrudhomme                                                                                           Twitter: www.Twitter.com/MalindaArt                                                                                            Instagram: www.Instagram.com/MalindaPrudhomme                                                                        Etsy: www.MalindaPrudhomme.Etsy.com                                                                                                Blog: www.MalindaPrudhomme.Blogspot.com

ALEJANDRA HIDALGO : The Natural Installations

 Interviewed and Translated in English, French and Spanish by Séverine Grosjean, Edited by Yoon Joo Lee

 After studying geography, international relations and sociology in different countries (France, Spain, Portugal, Ecuador, Peru),  Séverine Grosjean works as a freelance cultural journalist. She has published articles in  french, Canadian, British, Mexican, Chilean magazines. She is preparing to inaugurate her  first photography exhibition as curator in Paris in october. 

“Alejandra has insisted that her work was a tribute to the Guatemalan culture…..”

 Alejandra Hidalgo entered the world of creation by different doors like poetry, performance or photography. After much time and perseverance, she seems to have found in the installation what resonates with her.

Alejandra Hidalgo

 In 2003 she was asked to live in a house where she would also create. This will be called “In another time …” After  two months of work, research and 7000 baked (tortillas). It is a monumental installation without specific forms, but whose branches play and spread out  in every inch of the space. This work has created some controversy. In a country like Guatemala, where 40% of children under 5 suffer from chronic malnutrition, some people did not understand the use of this staple food in Guatemala, exposed for a moment and then thrown away. Alejandra has insisted that her work was a tribute to the Guatemalan culture and thousands of women daily cooking tortillas. Right or wrong, that is the question…

Alejandra Hidalgo 1

  It will inspire her,again in 2015 in an installation titled “Dreamlike” in an exhibition suggested by the G & T Foundation, “The interrupted dream.” Taking the form of a spiral from the ground up, dreams are transformed, they transform us and keep us constantly in motion, leaving one point and developing. She redefines the structure, the experimental barriers in a limited space giving the shape of a tree and it unconsciously as she says. In Christianity, the tree is the symbol of knowledge of good and evil and the Mayan culture by the Ceiba, the sacred tree, the pride of the Mayan civilization.

Alejandra Hidalgo 2

 With her work, “Footprints in the three times” composed by 5100 baked (tortillas) representing the number of pregnant girls aged 10 to 14  after being abused, most of the time by a parent, the work is much more committed. She carries a sociopolitical act giving shape to daily violence but unfortunately remaining silent. She allows a reflection on this issue but also on solidarity between the victims and the people fighting with them. This work is a metaphor linking violence and tortillas, food every day for Guatemalan. Activism and aesthetics of Alejandra’s work exposes the issue of commitment.

Alejandra Hidalgo 3

 In other works, Alejandra offers environmental awareness. Indeed, in an installation called “Acidosis”, she uses orange peels to recreate a space and reclaiming it. She creates forms and guide the viewer’s perception, walking with this natural material in a built landscape. There is an interaction, a mutual exchange, an atmosphere where the public may feel confused by this accumulation merging art and life.

Today, Alejandra Hidalgo continues this reflection on what it means to be Guatemalan, and the relationship between our individual consciousness and our collective consciousness.

Lean More about  Alejandra Hidalgo here. Check out her Facebook page, too!
Presented by the International Foundation for Women Artists.


 

 Interview in French

Alejandra Hidalgo est entrée dans le monde de la création par  différentes portes comme la poésie, la performance ou la photographie. Après beaucoup de temps et de persévérance, elle semble avoir trouvé dans l’installation  ce qui lui correspond.

En 2003, il lui  a été demandé d’habiter l’espace d’une maison de deux étages. Ce qui s’intitulera «Dans un autre temps…” lui prendra deux mois de travail, de recherche  et 7000 tortillas cuites. C’est une installation monumentale sans formes bien précises, mais dont les branches jouent, sortent, se propagent dans les moindres  recoins de l’espace. Ce travail a créé une certaine controverse. Dans un pays comme le Guatemala, où 40% des enfants de moins de 5 ans souffrent de malnutrition chronique, certaines personnes n’ont pas  compris l’utilisation  de cet aliment de base au  Guatemala, exposé pendant un moment puis jeté à la poubelle. Alejandra a insisté sur le fait que son travail était un hommage à la culture guatémaltèque et aux milliers de femmes  cuisinant quotidiennement des tortillas. Valide ou non telle est la question.

Elle s’en inspirera de nouveau en 2015 dans une installation intitulée “Onirique” dans une exposition proposée par la fondation G & T, ” Le  rêve interrompu.” Prenant la forme d’une spirale venant de la terre vers le haut, les rêves se transforment , ils nous transforment et nous gardent constamment en mouvement, sortant d’un point et gradissant, se développant.  Elle redéfinit dans ce travail la structure, les barrières expérimentales dans un espace limité lui donnant la forme d’un arbre et cela inconsciemment  comme elle le déclare. Dans la religion chrétienne, l’arbre est le symbole de la connaissance, du bien et du mal et dans la culture maya  par la Ceiba,  l’arbre sacré, de la fierté de la civilisation Maya.

Avec son oeuvre,”Empreintes dans les trois temps” composée de 5100 tortillas représentant le nombre de  jeunes filles enceintes  entre 10 et 14 ans après avoir été abusées, la plupart du temps par un de ses parents, le travail de Alejandra est beaucoup plus engagé. Elle réalise un acte sociopolitique donnant forme à une violence quotidienne alimentant le pays mais restant malheureusement silencieuse. Elle permet une réflexion  sur cette problématique mais aussi sur la  solidarité entre les victimes et les personnes qui se battent avec elles. Ce travail est une métaphore liant la violence et les tortillas, nourriture de tous les jours pour les  Guatémaltèques. Le militantisme et  l’esthétique du  travail d’Alejandra expose  la question de l’engagement .

Dans d’autres travaux, Alejandra offre une conscience environnementale. En effet, dans une  installation  appelée “Acidose”, elle utilise des peaux d’orange pour recréer un espace et la réappropriation de ce dernier. Elle créent des formes et  guide la perception du spectateur se promenant  avec cette matière naturelle dans un paysage construit. Il ya une interaction, un échange mutuel, une atmosphère où le public peut se sentir confus par cette accumulation fusionnant l’ art et la vie.

Aujourd’hui, Alejandra Hidalgo continue cette réflexion sur ce que signifie d’être Guatémaltèque  et la relation entre notre conscience individuelle et notre conscience collective.

Lean More about  Alejandra Hidalgo here. Check out her Facebook page, too!
Presented by the International Foundation for Women Artists.


Interview in Spanish :

Alejandra Hidalgo entró en el mundo de la creación por diferentes puertas como  la poesía, la performance y la fotografía. Después de mucho  tiempo y perseverancia, parece haber encontrado en  la instalación monumental  lo que le corresponde.

En el 2003, se le pidió  habitar un espacio en una casa de dos pisos. La que se llamara “En  otro tiempo…”. Dos meses de trabajo, de  investigación, de interrogaciones y 7.000 tortillas cocinadas más tarde, una  instalación gigantesca sin formas  muy definidas, pero cuyas ramas juegan, salen, se extienden en los rincones del espacio. Este trabajo creó cierta controversia. De hecho, en un país como Guatemala, donde el 40% de los niños menores de 5 años padecen malnutrición crónica, algunas personas no entendieron  el uso estropeado  de este alimento  básico de Guatemala, expuesto por un momento y tirado en la basura. Alejandra insistió en que su trabajo fue un homenaje a la cultura guatemalteca a través del consumo de tortilla reuniendo a  todos los guatemaltecos y en especial  rendir un  homenaje a las miles de mujeres que cocinan todos los días tortillas, siendo la base alimenticia de miles de guatemaltecos. Válida o no válida  es la pregunta?

Ella se inspirara  de nuevo de esta acción en el 2015 en una exposición de la fundación   G & T titulado “El Sueno interrumpido”. Se redefine la estructura, las barreras experimentadas en un espacio más limitado dándole  la forma de un árbol y esto inconscientemente porque como lo declara ”no era mi propósito”. Símbolo del conocimiento, del bien y del mal, el árbol representa la vida en la religión cristiana como en la cultura maya por la Ceiba, el árbol sagrado, motivo de orgullo para los Mayas.

El titulo de la pieza es “ensueno”,  una espiral que sale de la tierra hacia arriba, los sueños dan vueltas en nosotros, nos transforman y nos mantienen en constante movimiento, salen de un punto y crecen, se expanden. Las tortillas tienen marcado el sueno de miles de mujeres que a diario se paran frente al comal.

Con la obra titulada “ Huellas en los tres tiempos” compuesta de 5100 tortillas.una cifra no  inocente ya que representa el numero de casos de ninas entre 10 y 14 anos embarazadas despuès de haber sido abusadas, la mayoria del tiempo por uno de sus parientes, el trabajo  de Alejandra es mucho màs comprometido. A traves de este homenaje, realiza un acto socio-politico dando forma a una violencia que alimenta cotidiamente  el pais y que por desgracia se queda callado . Ella  permite  una reflexion “ politica”  por la visibilidad de esta problematica pero tambien de la solidaridad entre las victimas y las personas luchando con ellas.  Este trabajo es una metafora vinculando la violencia diaria y las toritllas, alimento del dia a dia de los guatemaltecos. Sin duda, con la relacion del militantismo y la estetica de su trabajo, Alejandra expone la cuestion del compromiso apelando las emociones del publico.

En otros trabajos, Alejandra ofrece una consciencia  ambiental. De hecho, en otra instalación monumental titulada “Acidosis”, utiliza la cáscara de naranja para recrear un espacio y la reapropiación de este. Utiliza el material encontrado en las calles para crear formas y orientar la percepción que tenemos de este objeto natural en un paisaje no natural. Se trata de una interacción, de un intercambio mutuo. Recrea una  atmósfera donde el público puede sentirse confundido por esta acumulación fusionando el  arte y la  vida.

Hoy, Alejandra Hidalgo continúa esta reflexión sobre lo que significa ser guatemalteca hoy en día y de la relación entre nuestra  conciencia individual y la de los demás.
Lean More about  Alejandra Hidalgo here. Check out her Facebook page, too!
Presented by the International Foundation for Women Artists.

Valeria Thomas, art and plastic

DSC_9110

Recycling is an essential part of her life.

Valeria Thomas, French artist,passionate of melted plastic , began working with plastic bags in 2002 with the challenge of making “something” with the many bags that can not be recycled and are declared “public enemy No.1” for the environment.

And after a few trials with the iron… it melts. And it’s beautiful!

Valeria then splurged  into the creation of small objects, starting with jewelry, then larger pieces, then assembling them with the sewing machine, welding them, molding them. She creates fashion accessories,house decorations and real pictures. Her latest creations are sculptures of jellyfish, with this wonderful material.

A network of supporters has formed around her project in the city of Les Lilas (near Paris) where she lives. She collects bags sorted by color, cutting them, composes and overlaps and melts them with the heat of the iron!

The resulting surfaces are bold colors , graphic. Renewing her original profession : textile design.

Today, plastic bags are rarer in France, it’s true, and that’s good for the environment! However, ValeriaThomas still has a few years of recycling ahead of her… And when they disappeared completely ? She will do something else!

3 coupelles

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La récup fait partie de sa vie depuis toujours !

Valéria Thomas, artiste française, passionnée de plastique fondu, commence en 2002 avec le défi de fabriquer « quelque chose » avec les nombreux sacs plastiques qui, non recyclables sont déclarés « ennemis publics n°1 » pour l’environnement !

Et après quelques essais avec un fer à repasser… ça fond. Et c’est beau !
Valéria se lance alors dans la création d’objets de petite taille, à commencer par des bijoux. Puis des surfaces plus grandes, modelées ensuite en les cousant, en les soudant, les moulant. Elle réalise alors des accessoires de mode, de décoration, puis de vrais tableaux. À présent, ses dernières creations sont des sculptures de méduses, avec ce merveilleux matériau.

Un véritable réseau se forme autour de son projet dans la ville des Lilas (près de Paris) où elle habite. Elle récupère des sacs qu’elle trie ensuite par couleur, découpe, compose et superpose, puis fais fondre à la chaleur d’un fer à repasser !
Les surfaces obtenues sont solides et naturellement colorées, graphiques. Ainsi elle renoue avec son métier d’origine : le design textile.

Aujourd’hui les sacs plastique se font plus rares, c’est vrai, et c’est tant mieux pour l’environnement ! Cependant, Valéria Thomas a encore quelques belles années de récup devant elle… Et lorsqu’ils auront totalement disparu ? Elle fera autre chose !

valeriathomasplastiquefondu.blogspot.fr

Artemisia Gentileschi, Her paintings were influenced by bad memories

Artemisia Gentileschi

(July 8, 1593 – c. 1656)

Her paintings were influenced by bad memories

Artemisia Gentileschi was born in Rome on 8 July 1593, the eldest child of the Tuscan painter Orazio Gentileschi. Artemisia was introduced to painting in her father’s workshop, showing much more talent than her brothers, who worked alongside her. She learned drawing, how to mix color, and how to paint. Since her father’s style took inspiration from Caravaggio during that period, her style was just as heavily influenced in turn. Her approach to subject matter was different from her father’s, however, as her paintings are highly naturalistic, where Orazio’s are idealized. Orazio was a great encouragement to his daughter since, during the seventeenth century, women were considered lacking the intelligence to work. At the same time, Artemisia had to resist the “traditional attitude and psychological submission to this brainwashing and jealousy of her obvious talent” *. By doing so, she gained great respect and recognition for her work.
*Bissell, Ward R. Artemisia Gentileschi and the Authority of Art: Critical Reading and Catalogue Raisonne. University Park: The Pennsylvania State University Press, 1999.

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 Self-Portrait as a Lute Player, 1615–1617, Artemisia Gentileschi
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Susanna and the Elders, her first work, 1610, Artemisia Gentileschi
The first work of the young seventeen-year-old Artemisia was the Susanna e i Vecchioni (Susanna and the Elders) (1610, Schönborn collection in Pommersfelden). At the time, some influenced by the prevailing misconceptions, suspected that she was helped by her father. The painting shows how Artemisia assimilated the realism of Caravaggio without being indifferent to the language of the Bologna school, which had Annibale Carracci among its major artists. It is one of the few paintings on the theme of Susanna showing the sexual accosting by the two Elders as a traumatic event.
                                             캡처Judith Slaying Holofernes, 1611–1612, Artemisia Gentileschi/Judith Slaying Holofernes,1614–1620, Artemisia Gentileschi
In 1611, her father was working with Agostino Tassi to decorate the vaults of Casino della Rose inside the Pallavicini Rospigliosi Palace in Rome, so Orazio hired the painter to tutor his daughter privately. During this tutelage, Tassi raped Artemisia. Another man, Cosimo Quorlis, was also involved. After the initial rape, Artemisia continued to have sexual relations with Tassi, with the expectation that they were going to be married and with the hope to restore her dignity and her future. Tassi reneged on his promise to marry Artemisia. Nine months after the event, when he learnt that Artemisia and Tassi were not going to be married, Orazio pressed charges against Tassi. Orazio also claimed that Tassi stole a painting of Judith from the Gentileschi household. The major issue of this trial was the fact that Tassi had taken Artemisia’s virginity. If Artemisia had not been a virgin before Tassi raped her, the Gentileschis would not have been able to press charges. During the ensuing seven-month trial, it was discovered that Tassi had planned to murder his wife, had enjoined in adultery with his sister-in-law, and planned to steal some of Orazio’s paintings. During the trial, Artemisia was subjected to a gynecological examination and torture using thumbscrews to verify her testimony. At the end of the trial Tassi was sentenced to imprisonment for one year, although he never served the time. The trial influenced the feminist view of Artemisia Gentileschi during the late twentieth century.
* Thumbscrew (torture); A victim’s thumbs or fingers were placed in the vice and slowly crushed. The thumbscrew was also applied to crush prisoners’ big toes. The crushing bars were sometimes lined with sharp metal points to puncture the thumbs and inflict greater pain in the nail beds. Larger, heavier devices based on the same design principle were applied to crush feet and ears.
                                               캡처Judith I, 1901, Gustav Klimt/Judith Beheading Holofernes 1598–1599, Michelangelo da Caravaggio
This event became her anger and she expressed the anger in her paintings. Also, in her pictures which represent *Judith Beheading Holofernes, She drew all faces of Judith as hers face and Holofernes are Tassi on her paintings. Unlike other ‘Judith Beheading Holofernes’, Judith looks like a strong woman and she has a tenacious grip. Usually, Judith had been expressed as a weak and fascinating woman in those days. For example, Gustav Klimt drew Judith as a fascinating femme fatale. Also, Michelangelo da Caravaggio drew Judith as a weak and delicate woman.
*The book of Judith: The Book of Judith has a tragic setting that appealed to Jewish patriots and it warned of the urgency of adhering to Mosaic law, generally speaking, but what accounted for its enduring appeal was the drama of its narrative. The story revolves around Judith, a daring and beautiful widow, who is upset with her Jewish countrymen for not trusting God to deliver them from their foreign conquerors. She goes with her loyal maid to the camp of the enemy general, Holofernes, with whom she slowly ingratiates herself, promising him information on the Israelites. Gaining his trust, she is allowed access to his tent one night as he lies in a drunken stupor. She decapitates him, then takes his head back to her fearful countrymen. The Assyrians, having lost their leader, disperse, and Israel is saved. Though she is courted by many, Judith remains unmarried for the rest of her life.
That she was a woman painting in the seventeenth century and that she was raped and participated in prosecuting the rapist, long overshadowed her achievements as an artist. For many years she was regarded as a curiosity. Today she is regarded as one of the most progressive and expressionist painters of her generation.

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Judith and her Maidservant, 1613–1614, Artemisia Gentileschi
Because Artemisia returned again and again to violent subject matter such as Judith and Holofernes, a repressed-vengeance theory has been postulated. Some art historians suggest however, that she was shrewdly taking advantage of her fame from the rape trial to cater to a niche market in sexually charged, female-dominant art for male patrons.

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Self-Portrait as the Allegory of Painting (La Pittura), 1638-1639, Artemisia Gentileschi
The most recent critic, starting from the difficult reconstruction of the entire catalogue of the Gentileschi, tried to give a less reductive reading of the career of Artemisia, placing it more accurately in the context of the different artistic environments in which the painter actively participated. A reading such as this restores Artemisia as an artist who fought with determination—using the weapon of personality and of the artistic qualities—against the prejudices expressed against women painters; being able to introduce herself productively in the circle of the most respected painters of her time, embracing a series of pictorial genres that probably were more ample and varied than her paintings suggest.
Source:
http://terms.naver.com/entry.nhn?docId=1148522&cid=40942&categoryId=34395
http://en.wikipedia.org/wiki/Artemisia_Gentileschi#Florentine_period_.281614.E2.80.931620.29
http://en.wikipedia.org/wiki/Caravaggio
http://en.wikipedia.org/wiki/Thumbscrew_(torture)
http://en.wikipedia.org/wiki/Book_of_Judith