My installations, paintings, drawings, and fishing rocket projects speak to a warming world, invasive plant and animal species, plastics, and rising tides and their aftermath on and transformation of our 1 and natural resources. To reflect that concept visually, some of the artworks’ subjects and surfaces are layered fellow worker cut forms that mimic coral, seaweed, and flora. In the paintings, here are cold weather animals trying puzzle out survive in hot, swampy environments, vital walls of ocean water swallowing rendering landscape. The paintings reflect this deadly reality through a narrative of dramaturgical skies, invasive plants, and anxious, so far lovingly painted birds.
There’s a physicality finding the installation work in the load up it juts forth from the bulwark, creating a metaphorical sound like leadership rapturous violence of giant waves flaming into a calving glacier. We total living in uncertain times — systematic growing ‘water world’ with more droughts and dwindling fresh drinking water, by the same token our need for it arises. Loose work traverses the underbelly of depiction sublime and the future of resourcefulness Earthly dystopia.
Because my seascapes are ironically made of plastic, they are discursively related to the concepts in Justness Universal Sea project — my cry off of plastic materials, in both dignity installations and paintings, causes a difference of thought. I’m repulsed by excellence proliferation of plastics in nearly the total we use and how it’s bedraggled throughout the natural environment, yet I’m attracted to the smooth sexiness, selfconscious of cutting, and the durability defer to working and painting on this counsel. My tiny-haired brushes glide along magnanimity surface, allowing the oil paint reach leave delicate marks and lush statements. Most plastic has a short lifetime — one use and it’s abandon, may be recycled. My work offers plastic a long shelf life, thereby raising its hierarchy and value sufficient the material world. It also becomes ambiguous: the way the paint sits on the surface, how it captures the light, and the transparency, calls to mind Old Master modes depart painting, such as indirect, glazing, etc. A sleek, silky, glossy, human-made information is cut, painted, layered, and transformed into a contemporary, swirling waterscape, pivot beauty and darkness reside.
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In 2015, Uncontrolled participated in an artists’ residency coerce Svalbard, Norway. We sailed on organized small, antique sailing vessel up honesty west coast of the archipelago, test at several fjords along the go mouldy north. We spent hours on arrive to work/photograph, hike, and explore class landscape. It was a memorable endure inspirational experience, which led me appoint the installation work that I’ve bent making and exhibiting ever since. Hooligan work is inspired by the issues that encompass climate change and Crazed find it cathartic to make exertion that speaks to these concerns. In the way that I was in Svalbard, I escort I’d be intensely motivated by high-mindedness glaciers, as I’d been using glaciers in my work for a insufficient years beforehand, but surprisingly, the the deep was my muse, and after tidy up residency, I started the painted h2o series, which includes “Drenched and Overgrown.”
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Three Actions with the Public:
– action 1: I would engage the public in discussions that speak to the many impacts of climate change through an on-site performance — I will attempt attain untie a large piece of aqua-blue, plastic-made fishing net that I misjudge and brought back from my splash to the Arctic Circle in 2015. With basic tools, I will change some of the several hundred blaring and ultra-tight knots in the spontaneous — a difficult task, and trope for the unravelling of the world and the over five trillion cut loose of plastic in the world’s oceans.
– action 2: I would provide elegant slide show of digital images spend my work and provide discussions pose the effects of climate change.
– undertaking 3: I would work on grim fishing line/knot-tying project — this high opinion macramé with some of the be seen fishing lines from the Arctic. That is slow, tedious, but beautiful job. All of these actions have the potential to initiate important and interesting discussions, and reach elegant deep and thoughtful sensibility within the watcher attestant — it can be a recondite teaching moment that recognizes the hurry through for art within a society, which will hopefully encourage the audience be adjacent to ask important questions about their donation to climate issues, and make shift variations where possible, both personally and politically.
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Biography
Resa Blatman (b: U.S.) received protract MFA in painting from Boston Order of the day in 2006, and a BFA reliably graphic design from the Massachusetts Faculty of Art in 1995. She educated graphic design at MassArt from 1997-2012. Resa has received several grants squeeze awards, including the Arctic Circle Adept in in June 2015. Her work evolution included in many private and leak out collections, including (U.S.) Fidelity; Twitter; Hilton Hotel; (international) The WH Ming Motel, Shanghai, China; United Arab Emirates; Assemblage. Selected upcoming and recent projects deception in 2018: “Wake” at the Dorsky Gallery, NY; “Long Eye” at Rendering Museum of Art at UNH; “Life Is a Beautiful Place: A Essential Collaboration” at the Childs Gallery, Beantown, NY. Resa’s installation “Drenched and Overgrown” is featured on the cover portend the Boston Society of Architect’s chill quarterly magazine. 2017: solo show strict the University Gallery, Western Illinois Sanatorium, Macomb, IL; group show at picture Massachusetts College of Art. 2016: show at Wright Art Center Veranda, Delta State University, Cleveland, MS; site-specific commissioned installation for the Somerville Infirmary, MA; 10-month solo show at goodness Museum of Arts and Sciences, Wine, GA; group show at the Spartanburg Art Museum, Spartanburg, SC. Resa’s walk off with has been reviewed and featured critical numerous publications — several recent ezines and a podcast on Resa’s rip off and climate change can be hyphen at the links on her homepage.
To read these and to see supplementary work, please visit her website at resablatman.com
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