That Sunnyside Pride: Ms. Russell

Billie-James : KIN

That Sunnyside Pride: Brian

Billie-James: A vision, a queen

I look out for mine: Granny and Bean

I know we don't talk about it but we should: We are related you know. . .

Billie-James: Centermost

Parts of this large &  hand stitched portrait contains scraps of fabric from a sari.

Austina

Oil on Canvas, 77cm X 77cm, painted in a vivid palette of greens from a Collage based reference from found material and sources. 

Feminae Hiberniae 

33 X 33 inches, this painting responds to Forests healing after destruction. The Planet can and hopefully will heal itself. Masses of Forests have been destroyed all over the world leading to increased Co2 emissions.  This is a soft painting of hope. 

And The Forest Heals

Oil and Acrylic on canvas,painting approx 36 x 32 inches unframed. Based on research of memory associations with fashion and how groups are identified by their clothing and hairstyles.  

Bootboys united 

Acrylic on Canvas 120 X 100 cm. Part of a memory project revisiting teenage years in Dublin and looking at group dynamics. 

Teenagers Talking 

Large painting acrylic and oil on canvas approx 100 X 80cm. Painted following a research project into the origin of the Dr Marten boot popular in the 1970s in England. 

Skinheads United

Small watercolour painting on Arches paper, unframed, approx 12 inches X 14 inches. Painted in response to the destruction of coral reefs due to global warming. 

Bleached Coral

Oil painting on square format hand stretched canvas approx 77 x 77cm. Abstracted painting responding to bushfires in California. 

Fire 1

Large drawing on grey fabriano paper using charcoal, pencil and wash. Abstracted and part of the global warming series responding to the destruction of trees through deforestation and bushfire.  This drawing is framed behind glass which is not shown in the image. 

The Space Between Trees

Oil on Canvas 45cm X 35cm, painted as part of Global Warming Series and responding to bushfires in Australia. 

Bushfire Australia 

Painting 77cm X 77cm Oil on Canvas from Global Warming series. 

Fire 2

Sometimes you don't need a richly detailed and colorful scenery to make an interesting artwork.
The new "Cities" Series, presented in these days by the artist Giuseppina Irene Groccia, is an example of this.
It is a project that applies the concept of minimal style to the artistic research of New Media Art.
They are works characterized by simple and clean lines that flows in a sweet and flowing harmony.

In this series, Giuseppina Irene Groccia, presents places and portions of the world, created through a whimsical intertwining of monochromatic curved lines, flowing on a pristine white.
She thus manages to immortalize profile lines on the horizon, imbued with a dreamlike atmosphere, obtaining an extremely refined result.

Creativity is the only fundamental element that she adopts in creating these small and infinite vortex movements, giving life to a soft and flowing structure.

Reduce and abstract, these are the key words that occupy value, in the technique used by the artist in the five works she presents in this Series. 
A style that finds enhancement in the sober form, placing pure beauty at the center of the work.

Through an abstract approach, the artist testifies to an accuracy and a mysterious ability to convey "sensitivity" and a sense of "flow", to usually static perspectives, such as the SkyLine.

Her style finds identity in the infinite details of an artistic purism, which open the mind to the imagination, allowing extraordinary journeys into the imagination.

Immersing ourselves in this new visual experience allows us to grasp its inner essence, giving us a memorial background, made up of memories or nostalgia, through which to draw enveloping visions with an elegant and refined line.


Cities - Giuseppina Irene Groccia 

Art has various forms with which to present itself and among the more contemporary ones there is digital art, which certainly occupies a concrete and important place.

In this series of works entitled Respiri, the artist Giuseppina Irene Groccia, demonstrates that she has excellent skills in exercising her artistic experimentation, applying it specifically to the language of digital visual arts and New Media Art.

The artist uses new digital media to bend them to his creative flair with a highly experimental approach, remaining in the awareness of being able to broaden a message through the transversality that this technique offers.

Through thoughtful observation of the four works that make up this series, we obtain a particularly significant sensory experience.
The expressive density contained in the female faces (this is the recurring theme and very dear to the artist), gives elegance to the minimal black and white lines, focusing on the corporeality of the senses, without any distraction of color.
The harmonious flow of forms is an important representation of a descriptive force divided between poignant candor or impenetrable mystery.

The title given to this small thematic collection reminds us that the breath is the silent flow that brings everything to the soul, the breath transports us into our interiority, in the silent border area between the subconscious and alert consciousness, where the two sides of our can be able to come into contact with each other generating the vital energy necessary to fight conflicts and who knows to find even that sort of inner dialogue, thus managing to appease that eternal duality known by every woman.

Giuseppina Irene Groccia delicately treats aspects that touch the emotional sphere, giving her works a subtle elegance, through her personal reinterpretation of the images and her careful stylistic research.

Technology therefore only changes the form with which art presents itself but not the creative process, the technical gesture is only the vehicle of an artistic language capable of amplifying a message with a strongly contemporary breath.



_Respiri_

The "Mannequins" collection by Giuseppina Irene Groccia contains a series of photographs which are taciturn spokespersons for the conflictual relationship between woman and her representation.

By observing them one becomes involved by silent figures, between the seen and the visionary who impose subjectivity and identity, stimulating to find intimate readings of one's imaginary baggage.

The artist creates a deliberate confluence between the superhuman static nature and the elusive evanescence, transporting us to an inaccessible space, made of silence and intermittent breaths, where labile and flowing entities, generate atmospheres of intimate vibrations, aimed at reaching the overcoming of the visible.

Here we find two worlds in one dimension, the concrete and the imagined. The object and the soul. Involved by the power of the contrasts, a concrete conflictual force is born, visible only to those who manage to overcome that little madness, kept within each of his shots, present in this series.

The photographic lens captures an apparent static nature, transforming silent figures into emotional beats, managing to create temporal narratives in our soul and have the immense power to make them stay.

Giuseppina Irene Groccia leads us to dig, to enter her sensitive world, to recreate what is not yet there is. To cradle in our mind the set of traits and its meanings, only in this way does the immaterial become powerful communication, giving access to an elsewhere where static faces and bodies become human horizons, physiognomies in which to enclose concepts and finally giving us a powerful poetics, alive and out of any common rule.

Take a look at the artist's website, to get a complete view of her artwork: www.gigro.weebly.com.




 Narrative vibrations 

Irene Anton ‘pandemic nightmare’, Spektrale 5, Luckau-Germany, 2012							            

Destructive elements always had been a fascination for mankind. If you regard for example atomic explosions, demolition of buildings, blasts, thunderstorms, volcanic eruptions, geysers, avalanches, icy rains, hale, tsunamis or tornados, the images created by this powerful violence always have their own aesthetic and beauty. 
But there are also some very small silent microcosmic and thus invisible elements, which are looking quite beautiful under a microscope, but are able to kill millions of human beings - the viruses. 
Due to the globalization and the increasing aerial traffic, epidemies can be spread out all over the world and become a pandemic quite quickly. The last waves of epidemies showed us that we almost can’t preview the development of the further movements and mutations of the viruses.
What I’d like to show is the beauty and variety of these tiny killers, shown by an installation of a simple metal bed with different designed viruses (from 15 until 20 cm in the average) hanging over it just like a firmament of stars.
Not only the diseases caused by the global movement are dangerous, there is still the worldwide problem of HIV, whose deadly process many people started to forget, because there are now effective medicaments on the market which in reality only prologue the life for some more years. 
In general medicaments against diseases are still unaffordable for most of the people in the poor countries any statistically, worldwide much more people die by diseases than by wars.
The pharma-industries mostly are not very interested in scientific investigation of some tropical diseases, because they won’t make enough profit in the so called “third world” and these non-investigated viruses just go on killing a hight rate of human beings.

My installation will also show the human threat in a metaphoric way, because loveliness always bears a certain potential of destruction in itself.


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