Spring is stateless and the clouds are citizens of the world. --Truly, Bei Dao
Anastasia Komar
Komar describes her practice as based on deconstructionist philosophies such as the fragmentation and manipulation of structure and surface, including the notion of spatial tension.
With reference to science, theology and history, Komar combines acrylic paintings with glass polymer sculptures that evoke bimolecular, mythological and mammalian forms. The canvas is the tolerant base layer that hosts the quasi-fleshy sculptures. The sculptures protrude from the edges and surround the surface, suggesting a parasitic or symbiotic relationship.
Komar examines the spiritual world by depicting organisms that transcend reality. In her work, unknown life forms lie across the space between painting and audience, trying to elaborate on emotional and spiritual truths.
The Milk of Dreams
The theme of the Venice Biennale The Milk of Dreams states "How is the definition of the human changing? What constitutes life, and what differentiates animals, plants, humans, and non-humans? What are our responsibilities towards the planet, other people, and the other organisms we live with? And what would life and the Earth look like without us? " . Post-human, metamorphosis and ecology are topics that run through the exhibition.
The fusion of animals and humans
Soil in another vision
Encounters with a body part of an unknown creature
“Anastasiakomar.com.” anastasiakomar.com. Accessed November 13, 2022. https://anastasiakomar.com/.
“Hosts ‒ Fragment Gallery.” Fragment Gallery. Accessed November 13, 2022. https://fragment.gallery/exhibitions/hosts/.
Editor, News. “The Milk of Dreams Is the Title of the 59th International Art Exhibition.” Biennial Foundation, June 9, 2021. https://biennialfoundation.org/2021/06/the-milk-of-dreams/.
Post-humanism/ Ecofeminism
Post-humanism seeks to dissolve the two-dimensional opposition between humans and other biological subjects and objects, where our personal experience is directly related to our own history and geography, implying that the objectivity, neutrality, and universality promoted by anthropocentrism do not exist. Donna Haraway has proposed the‘ situated knowledge', which emphasises the perspective and importance of the female experience.
I began to stop seeing the subject as a bounded entity. The subject is made up of multiple strengths, relations, capacities and dispositions; each subject is in a complex web of relations, defined by a variety of relationships and connections. Rosi Braidotti mentions that the most dominant feature of the post-human subject is’ situated', which means that our experience of the subject is situated, contextual rather than unconditionally universal.
Il Casa Batlló
Antonio Gauldi's organicist architecture is a romantic imitation of the natural world. He rejected the functionalist and constructed unparalleled spatial. There are rarely straight lines in his architecture, as he believes that absolute straight lines do not exist in nature. Inspired by the ocean, the sinuous shapes and neutral colours of Casa Batlló create an extremely dreamy and dehumanising space.
Henry Moore
Henry Moore admires the natural tension between form and shape, and the way in which natural forces act on objects such as pebbles made irregular by the washing of the sea and the naturally twisted joints of trees. His art is inspired by the process of continually learning from primitive ecology. He recognises that sculptural forms must be fully expressive of their potential, and therefore preserving the texture of the material itself is essential to him. His work is mysterious and dignified, which I infer is spontaneously generated out of his harmonious relationship with nature.
Luis Chan
Chan captured inner visions and brought to life a dreamscape through unrestrained 、 surrealistic style of fantasy abstraction to depict the society of Hong Kong, from the perspective of a calm bystander during the chaotic period. The way how he combines them is full of childishness and bright colours.
Most inspire me is chan's combination of the figures with the landscape, as if it were the most natural thing for human beings to fuse with the environment. The silhouettes of the figures' hair and bodies do not follow the objective form of a human being, but instead is subordinated to the flow of the mountains and water.
Figures with Golden Waves
( 1930-1940)