The language speaks itself - ID: Artist_ - Artist Chronicle # 1 A Visual Memoar' - Pia-Veronica Åström
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
The language
speaks itself
ID: Artist_
The medium_
the Avatar towards the whole_
Artist Chronicle # 1
‚A Visual Memoar‘
The language
speaks itself
These seres of works developed between 2016-2021.
In all confessions I struggled hard in the quest of
searching an own language.
I decided to let it speak itself. One thing I have
learnt for sure is that there is no perfect painting.
It is all just a circle of desire to create and be
creative. Another thing I have learnt is that in the
end it is art whether you like it or not.
Just as it is with life itself.
So lets celebrate it.
Special thanks to:
Professor Erwin Bohatsch from whom i received great
support and wisdom from 2015 until present day.
Also special thanks to:
Mag. Jothady-Haller Manisha, Mag. Luisa Kasalicky,
Mag. Rudi Weisgrab for being of greatest support in
all circumstances.
You have all contributed and been of great
significance to my development as an artist.
2 3
Prepare,
which alone cannot
go against
ones own instinct,
but one can be aware of it.
make money.
start.
minimum
send a messageto buyer.
to ship
4 5
Crawl through the
window of a dream.
Leave the natural
predator astray.
As dark as the
ice in the lake.
Lead me into victory through
the imprint buried in
my unconscious.
6
8 Morphe’, Explorer, Orphan, Regular Individual, Unity of Opposites Morphe’, Explorer, Orphan, Regular Individual, Unity of Opposites Morphe’, Explorer, Orphan, Regular Individual, Unity of Opposites Morphe’, Explorer, Orphan, Regular Individual, Unity of Opposites Morphe’, Explorer, Orphan, Regular Individual, Unity of Opposites Morphe’, Explorer, Orphan, Regular Individual, Unity of Opposites Morphe’, Explorer, Orphan, Regular Individual, Unity of Opposites Morphe’, Explorer, Orphan, Regular Individual, Unity of Opposites Morphe’, Explorer, Orphan, Regular Individual, Unity of Opposites Morphe’, Explorer, Orphan, Regular Individual, Unity of Opposites Morphe’, Explorer, Orphan, Regular Individual, Unity of Opposites Morphe’, Explorer, Orphan, Regular Individual, Unity of Opposites Morphe’, Explorer, Orphan, Regular Individual, Unity of Opposites Morphe’, Explorer, Orphan, Regular Individual, Unity of Opposites Morphe’, Explorer, Orphan, Regular Individual, Unity of Opposites Morphe’, Explorer, Orphan, Regular Individual, Unity of Opposites Morphe’, Explorer, Orphan, Regular Individual, Unity of Opposites
abstract art_ 10
A type of space and what it constitutes.
The same bad patterns repeat themselves
in new and improved forms.
Symbolic forms relate to or become abstracted
from the structures in which they are based.
Mechanisms disguised as artistic motifs.
12
e r a t o r _ al Self
|Op
Individu
orms
Empty f
_
.
t
w n m.
p
n o
The unk a vacuu
n c e a r in
|Co
p p e
do not a
_
for
n
No need reasoning
|In t u i t i o conscio
us
14 15
-Abstract art implies that every artist can do what she
ought to do.
A movement for each person open for everybody.
_Nature_Art_Freedom_
A singular work of art exceeds its purpose.
Produces a new Universal.
It‘s freedom of being used as KRAFT,
creates new meanings which are universal.
16 17
The black
The cold
To come from a contemplative Distance.
The infinite
18Presentation
of presentability
A physical
representation of
an abstract thing.
An abstract
representation of
a physical thing.
Interior of the mind
_Solid_
20 2122
Addition:
Foundation of paradigm
of matter. (Hyle) intricate
relation and form.
Abstract shapes suggests
content.
24 25Distance
Different ones in different depths.
It can be magic.
26_Reflections
When you least know it it can appear.
Everything that you thought was lost,
burnt with tears and defeat that
something which you experience as
new takes you along. It never ends
but at least it can be stopped in time
and then allow it to exist as an image.,
28_Reflections
like silver on the
back side window of a car.
I see the tear drop
in the left corner
of my eye.
30When the story starts to
unfold itself... ...the spirit of the painting is near.
32 3334
beyond
Knowledge what we can describe
with words
Invisible Entry.
36Organic abstraction
- devoid from figurative notions.
38of
Identity the identity
of
the non-identity.
41Important things always in the center.
Not important things at cost.
Things disappear in the words by
generalisations.
Dichtonomy.
When life is too controlled
There becomes less and less
life to control.
421 2
3
4 S ymbols of invisible veiling.
It marks the difference between hiding
and disguising. It is about keeping private.
Not giving one’s mysterious nature away.
44 45The Artist:
The artist tames the eye of the
greedy art lover by placing
a screen in between.
About Art:
Painting like drawing lives
on relationships.
Do not copy nature.
Make a choice.
Do not repeat the market.
All art is political in the sense it
engages society in some way,
either influencing or influenced by it.
Images function in society as
points beyond the binary.
Only when the artist is free from the
security of recognizable images,
transcendental experience is
possible. Rothko was right.
A painting is an invitation to fill in the
gaps what was not known before.
The elements are identified as
static when they are stopped and
checked in order to their status.
Avoid.
One part cannot be
isolated from the other.
Drawing abstraction from reducing.
Lost and won.
Transcend a message.
Art is communication.
Cloud_
Visual story telling can be
used to reflect or reinforce
notions of identity.
46„Taste is not itself a feeling.“
„It’s a
faculty in order
to judge.“
48Satisfaction
without interest
50 51As strong as
I can be
Its just visual Imagery
52 53He said:
do not look down.
Always look up
where the sky is.
Resting
54 55Interplay 56
_About Natural Limits
Speed vs.
responsiveness
of process.
Simultaneity of
thinking
& making.
A gradual refinement.
58-Remove all appearances of Reality-
In the dim light of the day I saw a line________________.
Seductive and slim. Pregnant with future. Free in its uselessness.
Nature is filled with mysterious forces.
For the painter who does not know where to go.
Frozen by uncertainty.
60Empty Abstract Manifesto Abstractionism Museum of Existential Art Dreams Empty Abstract Manifesto Abstractionism Museum of Existential Art Dreams Empty Abstract Manifesto Abstractionism Museum of Existential Art Dreams Empty Abstract Manifesto Abstractionism Museum of Existential Art Dreams Empty Abstract Manifesto Abstractionism Museum of Existential Art Dreams Empty Abstract Manifesto Abstractionism Museum of Existential Art Dreams Empty Abstract Manifesto Abstractionism Museum of Existential Art Dreams Empty Abstract Manifesto Abstractionism Museum of Existential Art Dreams Empty Abstract Manifesto Abstractionism Museum of Existential Art Dreams Empty Abstract Manifesto Abstractionism Museum of Existential Art Dreams Empty Abstract Manifesto Abstractionism Museum of Existential Art Dreams Empty Abstract Manifesto Abstractionism Museum of Existential Art Dreams Empty Abstract Manifesto Abstractionism Museum of Existential Art Dreams Empty Abstract Manifesto Abstractionism Museum of Existential Art Dreams Empty Abstract Manifesto Abstractionism Museum of Existential Art Dreams Empty Abstract Manifesto Abstractionism Museum of Existential Art Dreams Empty Abstract Manifesto Abstractionism Museum of Existential Art Dreams Empty Abstract Manifesto Abstractionism Museum Museum of Existential Art Dreams Empty Abstract Manifesto Abstractionism Museum of Existential Art Dreams Empty Abstract Manifesto Abstractionism Museum of Existential Art Dreams Empty Abstract Manifesto Abstractionism Museum of Existential Art Dreams Empty Abstract Manifesto Abstractionism Museum of Existential Art Dreams Empty Abstract Manifesto Abstractionism Museum of Existential Art Dreams Empty Abstract Manifesto Abstractionism Museum of Existential Art Dreams Empty Abstract Manifesto Abstractionism Museum of Existential Art Dreams Empty Abstract Manifesto Abstractionism Museum of Existential Art Dreams Empty Abstract Manifesto Abstractionism Museum of Existential Art Dreams Empty Abstract 62
If I would win
the
price: I would create a room both physical and
mental in which an alternative longing can
grow. I would look closer at this room.
Exploring the conditions of perception and make visual structures of where the
body ends and the image starts. The fragments would arise from death and
life tales as a vehicle of change and of healing. Physical space would over-
lap with the imagined space. I would turn trivial pursuits into painted secrets.
What was mundane and ordinary becomes unexpected gatherings.
64 65Intricate relation & Form 66 67
68 69
New
Visual
Dimension
70 71Singular entry point but not the goal 72 73
The limitations and possibilities are intertwined.
Stocks of paintings between 2015 and 2019
were destroyed, demolished like a house.
Thick layers of oil coats made the
cotton seem like the cortex of trees.
I skinned them from errors.
Skinned from its time of existence as image.
A cadaver of an oil painting.
The cycle of life and death.
In the moment of Memory it crosses the
diagram what is there and could have been.
Is it a poetry that the world can read?
74 75Dig Deep.
The art practice widens
the coordinates of what
is visible.
The medium is the message.
It is not what you see is there.
To dig you must be present.
76 77Work connects fantasy
Causality distanced through relationality
78 79The subject as formula.
Applies to time and space
but is in
itself timeless.
Art work does not present itself in a
framed painting, but integrates the
gesture to paint in larger, performative
hybrid practice.
80 81Can never totalize,
only partake.
82 83Time and Space
Space as abstract concept.
Transcendental Forms within Space.
Empty forms have a history, it comes from something.
A history of themselves. They do not appear in Vacuum.
The content of the objects are the dead paintings
but should not be perceived as a concept alone. Only
through metamorphosis the dimensions can shift. It
gives reasons to believe in new beginnings.
What shall we do with those inner beings who are quite mad?
Those who carry out destruction without a thought. Even these
must be given a place, one in which they can be contained.
85Raw Materials
Multiplicity of Fragmentation
Tide and ritual.
The pile of matter kept growing and somehow it
pleased me as I understood that dead paintings
had become bones. The bones only meant to
exist not longer than during the three days they
were made.
86 87New visual
dimension
Seduced by the skins.
By stitching them
together new forms
started to exist.
They also functioned
as a reminder of the
endless opportunities
and new beginnings.
I saw them as treasures.
Arriving to the studio
on a grey day in
times of struggle and
uncertainty about the
ongoing canvases,
the skins could shift
my focus. A sense of
richness and gratitude
for art and for life.
The pain of failure is
always present. The
point is to overcome it.
Art takes time. It needs
presence and space.
Be sincere.
Don’t try to make use of styles which
are against your temperament.
88 89Art production:
Forms relate to content and quantity and not to singular objects.
Self generatory. Fulfillment.
Mind does it alone, pure self satisfaction.
Made all by the same hand.
One can point towards it, but never finish.
Not derived from understanding but from imagination.
Cause and effect. You can think of representations of
forms, regardless of where they exist.
90 9192 93
94 95
As pitch black mechanic forms and shapes moved
like an ancient machine around on top of the heart.
Inside, soft and light colors.
Thin lines in a web of different
windows, gaps and openings.
Weightless.
A magic zone of contact.
Restore the integrity of that experience.
96Individuality
as Manifold In the end it is the
heart which tells
everything.
98 99I grew up in a red house with two
floors. One day I climbed all the way
up to the chimney. Six years old and
I left the last step on the ladder up to
the steep roof top made out of bricks.
I sat for a while at the top of the
chimney watching my father walking
with a wheel barrow far away down
on the ground. I greeted my father
from above as I wawed my arms in
the air. My father shouted that I was
immediately to come down.
I climbed down the ladder.
But that red house in which I grew up
had a beautyful sky around it.
100 101©P
ia
-V
er
on
ic
aÅ
str
öm
_│
I-Ching
20
20
│p
ia
v.
Past:
ub
The woman who
er
.sp
killed the dragon, the
ac
creature invented by
e.
human mind.
co
m
Present:
│I
ns
Woman who finds
ta
balance.
gr
am
What never leaves me:
:p
i_V
The Magician
_F
Nature:
in
ea
The woman who
spread the jaw of the
rt_
│
lion-
pi
av
the power is inside me
as
already.
tro
m
Driven by:
@g
Phoenix_
m
ai
Fear:
l.c
om
Consolidate with the
inner child.
Pia-Veronica Åström
What I will leave behind:
Art.
Never underestimate
born in Sweden 1976. Lives and work in Wien since 2015.
a certain regenerative 2015-2021 studied abstract painting under Prof. Erwin Bohatsch
development deriving at the Academy of Fine Arts, Vienna.
from the myth.
2003-2006 Bachelor of Arts in Communication, (UTS) University of
Technology, Sydney.
102 103Art
index
P.7 2020 Oil on canvas 155 x 140 cm P.41 2020 Oil on canvas 110 x 70 cm
P.9 2020 Oil on canvas 150 x 140 cm P.42-43 2018 Aquarelle on paper 42 x 29,7 cm (A3)
P.10-11 2020 Oil on canvas 130 x 110 cm P.44 2020 Aquarelle on paper 20 x 20 cm
P.12-13 2019 Oil on canvas 280 x 160 cm | Oil on paper 44 x 30 cm P.45 2018 Various Aquarelle on paper in small formats,
P.14-15 2020 3 x Oil on paper 25 x 20 cm| Detail 2020, Oil on canvas 185 x 140 cm Studio shot Schillerplatz, Vienna
P.18-19 2020 Oil on canvas 185 x 140 cm | Oil on canvas 90 x 84 cm P.46-47 2020 Aquarelle on paper 20 x 20 cm
P.20 2020 Oil on canvas 150 x 150 cm P.49 2019 Oil on canvas 130 x 110 cm
P.21 2020 Oil on canvas 110 x 100 cm P.52-55 2020 Aquarelle on paper 4 x 20 x 20 cm
P.22-23 2021 Oil on canvas 160 x 146 cm P.56-58 2020 Studio shot Engerthstrasse 119, Vienna
P.24 2020 Oil on paper 25 x 25 cm P.59 2020 Oil on canvas 140 x 120 cm
P.25 2020 Oil on canvas 150 x 150 cm P.60 2019 Detail oil on canvas 210 x 200 cm
P.26-27 2020 Oil on canvas 185 x 140 cm P.61 2020 Oil on canvas, reverted image 160 x 150 cm
P.28-29 2021 Oil on canvas 200 x 200 cm P.63 2019 Detail oil on canvas 130 x 110 cm
P.30-31 2020 Oil on canvas 130 x 110 cm P.64-65 2020 Studio shot Kempelenpark, Vienna
P.32 2020 Oil on canvas 200 x 200 cm P.66-69 2019 Studioshot, Engerthstrasse 119, Vienna,
P.33 2020 Oil on canvas 200 x 190 cm Flakes from multi layered destroyed oil canvas
P.34 2021 Oil on canvas 200 x 180 cm P.70-95 2019-2020 Painting as Form Project, Materials:
P.35 2019 Oil on canvas 130 x 110 cm Plaster, multi layered skinned oil canvas meal, wood, clay, thread
P.36 2019 Oil on canvas 160 x 150 cm P.96-97 2020 Oil on paper 42 x 29,7 cm (A3)
P.37 2020 Oil on canvas 230 x 210 cm P.98-103 2018-2020 Studio shot, Engerthstrasse 119, Vienna,
P.38 2020 Oil on paper 44 x 30 cm Exhibition sites, Wasser & Wasser
P.39 2019 Oil on canvas 34 x 34 cm Oehlweingasse, Baumgarten, Porgy & Bess, Vienna
P.40 2020 Oil on paper 25 x 25 cm P.104-105 2020 Exhibition space Hochhaus Herrengasse, Vienna,
Group exhibition, I see a Bird,
curated by Martin Janda and Erwin Bohatsch
Time and Space
Hochhaus Herrengasse,
Vienna, Austria, 2020
104 105106 107
You can also read
