[2014-12-30 19:29:53]

Roxana 罗克珊娜 Garea  (Chili 智利 )

Field of discipline: PAINTING, composed of moving parts.

RESUME OF MY OWN WORK

I’m a multidisciplinary artist formed academically on Sculpture, Applied Arts, Painting, Jungian Art Therapy and Management of Picture Books. I have exhibited my work in Argentina, Paraguay, Perú, Venezuela, Canadá, Andorra, Spain, currently in Japan and in January 2015 in Chili.

I researched and developed my work with the concept of "Symbolic Abstraction", referring to an abstract visual language, using archaic archetypes and symbols as the principal elements of my work. I developed this concept in my last graduation thesis, where I was able explain the process by which, I make abstractions in dynamic compositional fields, from universal and archaic symbols.

The main technique that I developed with this concept is the lacquered wood with silver sheet application in one interactive work with the public.

This latter aspect has transformed my work definitely, the viewer interacts with my artwork, my composition disappears, creating new looks, unthinkable for me. Creating a bond with the audience, inviting them to play and create with me. The first exhibition where I make an active interaction with the public has been in Spain in March 2014, and this development has been continued in my current exhibition in Japan. Where participants can take lacquered wooden pieces magnetized and mobilize it within a large iron plate.

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SUBJECT

In my last Art Work, I’m using universal and archaic symbols and archetypes about the cyclical, the feminine, the moon and the "Mother Earth". I work with nine works together, each is representing each of the phases of the moon. I invite the viewer to create new compositions, using only one moon phase, or more phases. Each series is numbered and has magnets to mobilize in the iron plate. My work is situated showing “The Cycle" in each the end begins again, in one continuous motion.

TECHNIQUE

Each of the parts of my work, are made in wooden, previously polished and placed the sheets of silver in certain places.  Made in the ancient oriental art, as it developed in China: LACQUERED ON WOOD. Finally, in an iron plate the viewers can create new compositions of my work.

REFERENCES

In literature Julio Cortázar1 and his book “Rayuela” (Hopscotch). Where the reader can change the order of the chapters and make new stories. The author argued that play and creative ability is innate to all people, and that is possible in a space of freedom.

“It is true that if children be left alone with their games, without forcing, would make wonders. You saw how to start drawing and painting; then force them to draw the apple and the tree hut and the kid is over” 2. Julio Cortázar 

In contemporary Visual Arts the artist Marta Minujín3 Argentina, and series, inspired by "Rayuela” (Hopscotch), opened in Paris in March 2014 and in Buenos Aires in 2009. Whose work ends with the creative and playful intervention visitors.

"I’m alive and I spend my life playing. Remember why I wanted to Cortázar in a public place so that people can play the game of life" 4. Marta Minujín 2014

SYMBOLS

The symbols that I choose to invite people, adults and children, men and women, are in reference to the lunar cycle. The moon, like the cycle of pregnancy of women grows, has a moment of splendor associated with pregnancy, and then decreases. To start a new cycle. The moon as a symbol is an ancient archetype that many cultures, throughout history, in different towns, far apart, have paid tribute to him.

Carl Gustav Jung5 insisted that the source of all creativity in human life comes from the consciousness, only the unconscious. And the moon is one of its greatest symbols. Jung establishes the importance in the lives of people, to get to know and find your self, and that to achieve this it is necessary to delve into the unconscious. Being one of the ways to do it, playing and creative activities.

“The creative intrepidity positive animus sometimes express thoughts and ideas that encourage men to new businesses. (…) have to find the audacity and inner mindedness to doubt the sanctity of their convictions. Only then will be able to accept the suggestions of the unconscious, especially when they contradict the views of his animus. Only then did she arrive until the manifestations of his "itself" and may consciously understand their meaning” 6. Carl Gustav Jung

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