A powerful work and breathtaking painting: the nature in riot with the elements earth, water, fire and storm. 

This work is inspired by the enormous challenges of the future, which force us to act now.

The artist acted by over-painting an abstract work from 1992 which seemed to him to be „too beautiful, too harmonic, too idyllic“ from actual view of climate change.
Parts of the former painting are still visible, but the bold colours and gestural forms in the style of abstract expressionism of the over-painting dominate the new picture. 
This abstract painting is signed and dated on the front, additionally, titled, dated and signed on the back. It is ready to hang by a hook on the back.


Let's Face The Future And Act Now

Sky House, 2014.
Oil, manila pattern paper, and bolt fabric on birch wood panel, 20 x 20 inches.

Sky House

In this work, three vintage Kennecott Copper Corporation billboard ads show narratives of economic prosperity and job creation that circulated widely during the dawn of industrialization. The billboards sit on top of slag waste piles and have embedded animations that illustrate a starkly different reality. Elements of the poster slowly begin to move in the animation to illustrate the labor strikes, abandoned houses, and environmental degradation in mining towns today.
The visual differences exemplify the disconnect between what was promised to these communities and the material living conditions the towns were actually left with.

Years of Life lost (we are within the waste)

2021
Black ambrotypes in artist's frames, diptych

Lazy Semaphores

NATURE MORTE no.2 à la dérive
STILL LIFE no.2 DRIFTING
Painted wood frame, metal, oil painting fragment, 14 in x 11 in x 0.75 in, 2020
DRIFTS DRIFTING PHASE II Installation Project. Photo: Paul Litherland

The DRIFTS DRIFTING PHASE II installation project proposes a questioning of human and artistic drift, a theme that Anne-Marie Giroux has been exploring since 2014. Taking a critical and mocking approach to the relevance of the very essence of the art object, the artist also questions the relevance of being an artist and most specifically, the importance of being a woman artist. Composed of three-dimensional works developed with traditional mediums and recovered materials, the installation is presented as a still life, fragmented with multiple « self-portraits » of the artist and her art, adrift.

In the continuity of the DRIFT (2014-2018) and DRIFTING (2017-2018) series as well as the DRIFTS PHASE I installation project (2O19), it is during the Covid-19 confinement of spring 2020 that the artist undertook the creation of the DRIFTS DRIFTING PHASE II installation project. In December 2020, she also had the opportunity to complete an artist residency that allowed her to refine the project and create in situ at Galerie ERGA in Montreal. The artist now plans to present the project publicly.

Anne-Marie Giroux attaches great importance to the creative process. One of the peculiarities of the project comes from a desire to push the practice of painting and sculpture further. She challenges herself to compose with the surrounding material in her studio, whether it is with the oil painting fragments that dried and that accumulated, plasters and cements created for previous projects, materials and objects that have piled up in the studio over the years.

Greatly inspired by the work of Duchamp (transposition of the object into art), Ed Rushcha (conceptual aspect) and Mathieu Lefèvre (questioning and relevance of being an artist), she has created a series of three-dimensional works offering a poetic and minimalist in situ that will be able to transform and recompose itself in the spaces that will host it.

Still life no.2 drifting

Through the medium of oil paint my work captures imagery of the everyday in New York City to highlight the dystopian reality of 2020. My practice focuses on the screen as a surface of mediation, protection, isolation, safety, and fear. Together we acknowledge the courage of our essential workers during these unprecedented times, and their protection of and service to the community at large. I recognize the screen as a barrier and charged index that both separates and unites us. This physical boundary functions as a space from which to consider our privilege and reflect upon our position as human beings during these unprecedented times. It is a barrier that mediates the body and incites questions regarding human desire and fear: the inability to touch during a global health crisis and the longing to connect.

Untitled (07/16/2020)

As a textile artist, I use materials, textures, imagery, and senses to evoke place and time. This year in particular, I tried to bring a feeling of comfort back to the isolated existence I experienced in America in the midst of a global pandemic. I wanted to make my home in India almost palpable- within my reach.

Working on the jacquard loom and embedding a textile with spices common in my family’s cooking allowed me to capture the comfort of scent; just the smell of a spice can trigger fond, powerful memories. Now these textiles can envelop a space with the scent of spices, but have also become meaningful objects that can be folded up and taken with me wherever I go, as a reminder of home and the warmth it brings.


Aromatics

Wake up (2020-2021) is a sculpture composed by two plastic containers filled with bee honey. Thanks to infusion equipment connected to the containers, the honey drips on a glass box that covers the body of a taxidermied hare. This artwork rescues two meaningful elements according to its symbolism on the history of art: the hare and the honey.

Wake up

A self-portrait, titled 'Saturating and Sinking Deeper', from the series CALAMITIES- PLASTIC & FAUNA. 

33.1 x 46.8"

Archival Digital C Type Print 

Dibond Mount+ S/Frame 15mm sub frame

CALAMITIES-PLASTIC & FAUNA was JABO's  response to the headlines surrounding the severity of the Microplastic problem that we are all currently living. The headline that vehemently took O'Neill's mind - 'Microplastic's have become discoverable in Human Organs'. 
Throughout the U.K. Lockdown she became relentless with materials and produced a body of work that contains photographs, sculpture and an oral poetic performance. When combined, CALAMITIES-PLASTIC & FAUNA engages with and stimulates emotional response in the viewer by combining a contradiction of jarring, self-portraits and beautiful sea fauna cyanotypes. In order to elicit the disruptive symbiosis between the manmade material, sea fauna and the human - leaning on aesthetic attraction and haptic/ bodily experiences of the viewer to spotlight the severity of the Microplastic problem. 

Saturating and Sinking Deeper

Portrait of a Liberian Girl

What define jewelry? Wearability? Precious material?


Drawing of penis with horse tail hair and human pubic hair.

Tail ≒ pubic hair ...?

NO DISTANCE
A film by Patricio Alfaro & Fiorella Angelini
Chile - UK 
June 2020

1. Description

A short video made by the Chilean artists Patricio Alfaro and Fiorella Angelini. 

Taking correspondences as a starting point, we seek for unsent letters, unanswered emails, unanswered videos, and words that are going to be forgotten soon. Letters between friends that are produced and transformed into a moving image in a collaborative project. 

NO DISTANCE is an exercise between two friends living in different cities and trying to stay closer to each other. After living in the UK for two years, Patricio is now living in Valparaíso (Chile) and Fiorella is still living in London. Their voices and narration respond to the idea of belonging to the landscape from the cities they are living in, and the video a poetic correspondence produced in the online space made during the lockdown.

The video explores the concepts of territory, friendship, and migration. The final edition is a short video responding to the video submitted previously by the other artist. A moving image, made by fragments of home-made videos including the artist's voices.

2. About the artists

Patricio Alfaro (1988) 
Chilean director and cinematographer, known for “Las Plantas” (2015) and “If You Listen Carefully” (2015), and for creating the website LaVitrola.cl with over 800 video-clips and counting. He studied an MA Ethnographic & Documentary Film at University College London (2018-2019 and Graduated in Film and Television from the University of Chile, where he quickly started working as a runner in video-clips of major Chilean artists. In 2009, with a group of fellow students, he created the site "La Vitrola", an audiovisual collective which films Latin American musicians playing their songs live in one take without cuts. He has recorded to this day more than 1100 music videos of different genres. In 2016, La Vitrola won the "Premio a la Música Nacional Presidente de la República" given to them by Michelle Bachelet, president of Chile.

Fiorella Angelini (1990)
Chilean artist currently studying a Master in Fine Art (Media) at the Slade School of Art at University College of London UCL. I studied a Bachelor in Fine Art (2009-2012) and Bachelor in Pedagogy (2013) at Finis Terrae University in Santiago, Chile. I have exhibited in Santiago at Museo de Arte Contemporáneo MAC (Museum of Contemporary Art), Museo Nacional de Bellas Artes (National Museum of Fine Arts), Museo de Artes Visuales MAVI (Visual Arts Museum), Galería Balmaceda Arte Joven, Centro Cultural de España Chile (Spanish Cultural Centre), in New York at the Local Project Art Space & The Local NYC; in London at the Slade Research Centre UCL, Framers Gallery, and Barbican Arts Group Trust.

3. Contact:

Patricio Alfaro:
patricio.alfaro.astorga@gmail.com
https://alfaropatricio.com/
https://www.instagram.com/alfaropatricio/

Fiorella Angelini:
fiorella.angelinip@gmail.com 
www.fiorellaangelini.com
www.instagram.com/fiorellalunaangelini