Public Gallery is happy to present Divorce, a solo exhibition by Stefania Batoeva. 9 new oil paintings are hung throughout two conversing floors of the gallery. Subjectively particular, these functions discover the restrictions of being aware of – the zones of uncertainty and codependency among the bodily and the imaginary.
It is tricky for me to describe Stefania’s paintings as either figuration or abstraction. This binary model is someway much too rigid, far too steeped in frequent perception. If pushed, I would have to say that Stefania’s is effective are surely both equally abstract and figurative and perhaps neither. Clearly defined figures, architecture and the purely natural are existing with an equal assuredness, the logic in this paintwork bleeding ambivalence. Stefania leads us into the corners, to the edges and back again, conventions are not our guides in being familiar with these functions, feelings right here have a achieve and a breadth. Time and space are in flux – expansive and quick. Activities look to take place via rest and wake, by way of fairy tales and science fiction, and back out on to any concrete road corner.
Mark Fisher would use the bizarre and the eerie to describe this floor. For Fisher, these are the locations of the strange. The weird listed here is not the horrific, the peculiar below is the exterior, the fascination for that which lies beyond regular notion and cognition. These areas are at at the time not known and in fact familiar for it. This is Stefania’s seduction – the paintings arrest with their deficiency of familiarity. The application of motifs and paint regularly shifts in speed – that rapid/sluggish undeniability of the medium – to expose intentions, to manipulate the eye. This codifies an tactic that only won’t settle for the entire world to be only what it appears to be.
Why is there some thing listed here when there should really be almost nothing? Why is there almost nothing in this article when there must be anything? I assume about the unseeing eyes of the dead, the damaged bridge in between the external and the internal. What utilized to be an energetic conduit, is now an opaque object.
I take that there are things that are, and there are factors that also are not. Some people today have ghosts in their ontologies. I question about the boundaries and extensions in Stefania’s – the abstraction that seems in the get the job done serves as the very illustration of these perceptive restrictions, as if at some level the eye can only relay so a great deal information, as if at some level paint is ratifying into reality these quite areas that exist beyond sight.
Caravaggio’s The incredulity of Saint Thomas, depicts the doubting Thomas. Untrusting of the visible studies of Christ’s reappearance, he can only validate the existence of Jesus by touching the crucifixion wounds. But how curious this bodily affirmation of a ghost. Stefania returns frequently to the concern of contact and to have an effect on without having it. Figures surface in pairs, and but is there a shared fact concerning them? This affect touch appears to be to bridge ontologies and states of consciousness, it is in this article where by we locate the achievable and the visceral, it is listed here wherever we reside and fulfill, open, fuzzy, suspended in extension. —Isaac Lythgoe