Shredded fragments of the artist’s self-portraits on a heap of polyurethane supported by a stainless steel cube with welded edges. This work pushes the subject of this self-portrait beyond recognition by creating a fragmented and fluid object that seems to transform into something else. This labour intensive work took the artist a year to complete as each self-portrait fragment was individually applied by hand.

The impossibility of nihilism

Glumunpiv

‘Dear Data’ is an apology letter from the artist to all the data she has given away. This letter expresses feelings of guilt and regret while also expressing a newfound appreciation and respect for her data. Her sincere apologies attempt to create a sense of responsibility in the reader for their own data and force them to think about how much they have given away. Accompanying this piece is a self-portrait created from Phelan’s information stored by Facebook, in which she requested access. This work has been informed by Jaron Lanier’s research into developing a more dignified information economy.


Gospel According To Facebook

Fugitive Sheet (Excision)

SCAPE III

Featured at the De Young Open exhibition at the De Young Museum in San Francisco. 

Impression 42 "Tired"

This three piece series aims to linger on the moment before something "final" is
about to happen, the milk is about to be spilled, the glass is about to break.
It forces us to stop and absorb the effect and tension of that impending change,
making us wonder what will follow and is there any reality once the inevitable
happens.

Three States of Milk

Sculptures of the first kind, with light, glow only at night or when it is dark indoors because this is how solar panels work. During the day, without illumination, the sculptures have one appearance and charge the battery, and at night they look different because they are perceived together with the light they emit.

The sunlight

An Osteoborg is a sort of bone-robot. This one has been evolving for a very long time, and has no memory of its origin. Its integrated into its environment and is perhaps gestating new copies of itself as nodules on its legs.

OsteoBorg 1

Imbued incoming sun 

Sad Squidward

Hoo Wood

“Smoking Kills” uses smoking to question the relationship between fashion and human culture. Historically, cigarette companies paid movie production companies to show smoking on screen. Now, smoking has become a symbol for sex and fashion while also being the leading cause for lung cancer. The piece explores the separation between social life and longevity.  

Smoking Kills

Nights in White Satin

Summer Time 

Interlude

I must admit being an artist in isolation was a blessing to me. 
All the efforts, expectations, force , fear of embarrassment or failure just fall away in the face of a global crisis.
Taking a break of  everything leaving only what is truly important.

I am submitting my works reflecting inner conflicts but also dreamy moments while being alone with myself.

Image 1) Another Night Another Day Goes By, acrylic on canvas, 30x40cm 
Image 2) Anxiety Takes Over, acrylic on canvas, 50x60cm
Image 3) If I get a little prettier can I be your baby?,acrylic and marker on unprimed  jute canvas, 40x50cm
Image 4)Sentimental Confusion Forever Distractions, acrylic on canvas, 60x80cm
Image 5) Dream I, acrylic on canvas, 50x60cm.
Image 6) Dream III, acrylic on canvas, 30x40cm
Image 6)

Taking Time

Columbine

Among different cultures and mythologies, the moon is one of the very few celestial bodies to which different genders were assigned. For example, in my homeland (Istanbul, Turkey) moon is perceived as a male figure ("ay dede"), whereas in ancient Rome it was embodied as the goddess “Luna”. Thus, I attribute the genderless identity to the Moon as a celebration of the non-binary gender spectrum.

Moon: Genderless

Some experiences of the artist are often reflected in his art. Especially the curfew during his childhood in Yugoslavia shaped by the Balkan war came to the forefront recently due to parallels to the current „quarantine-life” during COVID: the feeling of loss, confusion and uncertainty when confined to our trusted space. He is to convey a transcendent calm and order in these artworks. Something eternal amidst troubling times. Textures and forms of his childhood are a strong influence. Such as roughly woven linens of military tents, basic motifs of folk-art and the bold shapes of brutalist architecture in post-war Yugoslavia. OP-Art, with its repetition of geometric shapes is a salient inspiration. He uses strongly abstrahising forms and muted colours. Such austerity underlines the calm atmosphere of his works. Contrasts and clashes define his art. These works are digitally designed, yet he uses traditional printing techniques and materials. This duality emphasizes the tresholds of cyber-space and reality, of digital and human connections. Contrasts between light and dark, between contained forms and disruptive lines express calm and upset, freedom and confinement, life and death.
Words: Agnes Fazakas
Photo: Pinewood Lifestyle - Levente Kadar/Eniko Varai

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