Artist Influences



 Christo and Jeanne-Claude

These are two artist who work within aesthetics concepts rather than within the meaning behind the art piece. Most of their works intervene with nature and are created in the large-scale. Their art practice is more about the process of creation, the art piece is not completed before it’s demounted. My most favorite art pieces are: The Running Fence and Surrounded Miami Islands.


The Running Fence,1973, 28 miles 




Surrounded Miami Islands, 1983

These two artists have inspired my work, while realizing that the art piece should be all about the process.

If you search the internet there is not much about the meaning of their works, if there is it’s not what they meant, as these two artists have been doing art for the art’s sake, as well as the aesthetics behind it. All their projects were more about relationships with humans and nature, as for each of their projects they needed to overtake huge amount of obstacles, such as courts, people of those areas etc.





He is a conceptual German artist who mainly focuses on purity and simplicity as the main theme for his installations. He works only with natural materials such as pollen, bee wax, and rice. When you look at his work, you realize how passionate and time-consuming is the process of his creations. He is the most famous for using pollen within his art pieces. He collects it during spring and summer in Germany. He uses pollen from different trees and flowers, as each type of blossom has its unique color. He suggests that pollen becomes an art piece on its own, and it does not matter how its going to be presented. Moreover, he sells pollen that he collected during summer to museum and collectors in glass jars, without any direction of how it can be exhibited.

A visitor watches on June 11, 2013 an ar

Passageway Inside Downside is an installation that was created during 2011-2012. His work brings the simplicity and calmness to the gallery space. The repetitiveness of the objects he uses in this work, transforms this objects into new forms within the permanent form of the objects, allowing viewer to meditate and take this clam experience into something new for themselves.


His work, inspired me for the project I am working on, as his use of repetitive forms creates a unity of this objects, in order to become one piece within the installation. This what I want to bring into my work.

Images are taken from these sources:

                                Anna Lewis ‘CATHEXIS’

She is a Jeweler from UK. She is most famous for her feather designs, with silver details. In her art pieces she explores the notions of memory. Her works illustrate the intimacy of relationships that people bound with their objects. Furthermore, her works illustrate the symbolism of memorials, amulets and the meaning of these objects in daily life of people.

Her installation – ‘CATHESIS’ which was installed in and commissioned by the Mission Gallery in 2007. The word Cathesis means ‘an attachment or transfer of emotional energy and significance onto and into an object, idea or person.’  This becomes the idea that is transferred through all of her pieces. This installation consisted of 3000 wooden birds, as the emphasize of fragility and loss. There are other meanings that are also reflected in her practice, such as memories, wishes, prayers, and hopes. These birds were hung across the gallery space, so the viewer would see a flight of a mass of birds and eventually would become a part of this piece.



Cathesis, 2007

This work is related to my Paper Cranes art piece, as she highlights the ideas, that I want to highlight in my work, such as wishes, hopes, and dream. However, my work differs from hers, as I want to focus on the idea of purity and innocence in contrast to war, and events in Hiroshima 70 years ago.

images are taken from amazing


                            Being alive – Daphne Wright

She is an Irish visual artist. Her works are full of delicacy and tenderness. When you look at her sculptures you can feel that they are nearly alive, but she drives a thin line in being ‘nearly alive‘.

At first sight you may think that her works are taxidermy art as Polly Morgan’s. However, these art pieces are castes made of marble dust and resin. She is not the first artist who illustrates death as something natural, as I have said Polly Morgan also looks into these within her art.


                       Lamb, 2006 Marble dust and resin, 67 x 17 x 38 cm
                                              Edition of 5

 These art pieces suggest to open our minds to unwholesomeness. The viewer becomes a part of her piece as they are looking at dead animals, even if they are casted they are too realistic to believe they are sculptures. The viewer becomes trapped and uncomfortable viewing these pieces, which leads to their exploration of ‘death’, as in the same time you look into the eyes of death, and feel sorry for those animals. However you can not turn your eyes from this beautiful depiction of death and peace depicted in one piece. 


Stallion , 2009, Marble dust and resin, 160 H x 380 L x 140 W cm
                                               Edition of 2

Personally, I am in love with her figurative sculptures, as they feel clean, peaceful, and elegant. Her works closely relate to my own practice, as with white there is a suggestion of peace, being in peace, and observe peace, which I want to bring into my works of art.

                                   Robert Ryman                                     


Robert Ryman is an American artist who works mainly in minimalism. His works are focused on texture and surface of the paintings. To highlight it his paintings are done in white. This idea is really close to my current practice as I want to explore the shapes and texture speaking for itself. He uses now only textures to play with, but the walls on which he presents his work, to the extent that they become part of his art. This is what I was considering by exhibiting my work on the red wall.

The restricted color and practice does not influence the meaning brought to his works, as it allows the audience to explore not the color and shapes on the painting, but the brush strokes, textures and surface. This allows the sensitivity of exploration within his paintings. Personally, I feel that his works can say more than for example a portrait, as his works, are emotional and pure, they allow your imagination and sensations to explore the art just simply by texture. This allows people to focus on what actually matters in art.


                                       Robert Brennan

American artist, who explores within his practice shaped canvases. His works illustrate contrasts between organic and the geometric, the tension and the softness, rough and smooth.

In his pieces you can see movement created simply by canvas. It becomes not just a canvas, but a sculpture which comes to life with light, as the shapes are getting revealed with light and shadows. This also becomes the reason for his canvases being white as it helps to visualize the language behind his works.

“I have also explored shaped pieces that employ color; however, it is through the stark white works that I ultimately push the edge of painting toward relief and sculpture and, more importantly, toward the rich dialogue between white and black that is possible when light brings the forms to life.”

He describes his working process as an exploration of forms and shapes, and therefore he never knows the outcome of the piece.


                                                          The Dance, 2007




                                                          Piero Manzoni    

      Through his works and approaches he ironies avant-garde art scene of those years. He reflected the response and influence on Italian society to mass production and consumerism after Second World War. He also was a part of Zero Art Movement.

‘Manzoni is most famous for a series of artworks that call into question the nature of the art object, directly prefiguring Conceptual Art.’

Achromes becomes a series of monochrome paintings, and worked in Spatialism style.

His work eschews normal artist’s materials, instead using everything from rabbit fur to human excrement in order to “tap mythological sources and to realize authentic and universal values”

He died at the age of 29.

It was really interesting to see how he manipulated canvases in order to have the painting as an object and able to speak to itself.




Achrome’s, 1958



 Enrico Castellani

One of the most influential Italian artist of 20th century, who can be associated with Zero Art Movement, which has influenced my current project. His works are mostly in Minimalism, exploring the perception of space and light.

‘Superficie Bianca No 18’ illustrates Castellani’s idea of painting as an object.

He curved canvases, shaped them, and folded them the way that lighting would dictate the imagery of the painting. He used nails, to shape the texture of the canvas.



Superficial Blu, 1977

                                                  Polly Morgan (week3)

She is London-based artist, who became known for use of taxidermy as a tool for art pieces. The animals she uses died naturally, that leads to the main concerns of her art pieces – that death becomes a peaceful state, and terror lies in Life rather than death, as fight for life, and to stay alive is more scare condition.Her works are beautiful and scary at the same time. The narrative within her work process illustrates of how we are fragile, and this is what Morgan wants to show to her audience.

Polly Morgan became known in art world in quite short time, as her unusual and illusory art practice becomes unique, as there not many artists who used taxidermy as a tool. From 2004 she got noticed by Banksy. In 2005 he commissioned art pieces from her for his annual exhibition in London. Then she started to be exhibited with alongside Damien Hirst, Banksy, and her work started to be collected by Charles Saatchi and other collectors.


Vestige (2009)

Taxidermy, prayer-book, chandelier (37cm x 58cm x 19cm)

When you look at her art pieces you think that in a second the bird or an animal can become alive. In my opinion through her work she brings irony, of how people become obsessed by things, ‘Lovebird'(2009), perfectly illustrates this,as the bird is no longer alive, but still looks selfishly in mirror and there is a carpet made out of mouse.




With her other piece – ‘Systemic Inflammation’, (it becomes her first monumental piece), she as an artist tried to command the gallery space, with an installation. I could describe this piece as ‘Dramatic, this becomes the word that comes first to my head when I see it. I think this piece looks smooth and organic and brings in the dialogue between the artwork and exhibiting space.

Systemic-Inflammation Systemic-Inflammation-detail                          ‘Systemic Inflammation’ (2010)

Taxidermy, steel, leather

130cm x 113cm (diameter)


Information and pictures from:

-all pictures are from her original website

-Interview for BBC

– See more at:

Serena Korda


On the 21st of Oct we had a chance to meet Serena Korda an amazing and inspiring artist from London. From the first minutes of seeing Serena you can feel her confidence and loving life personality.

Her practice focuses on large-scale performances and sculpture. In recent years, she was seeking inspiration from movies, especially horror ones, which have reflected on her practice(e.g. art film ‘Transmitters’). She researched the way of how people attracted to horror and hysteria, and the imagery of eroticism within these grotesque images.

In her early works, such as ‘Decosa Tradition Stockholm Keifer/pin’, Performance, Camden Arts Centre(2010) and ‘Aping the Beast’, which is presented in few performances. During her presentation, she talked about her interest in the secret life of objects and use of puppetry, which had an effect on these art pieces.

Within ‘Decosa Tradition Stockholm Keifer/pin’, she was looking at monumental sculptures and use of audience as a part of this sculpture. At that time she became inspired by movement and ritual dances. She developed a performance based on ritual dances, so the group of people were making some sort of artificial ritual with this ‘decosa‘ material, with print of wood imitation. She was questioning ‘notions of authenticity and man’s desire to mimic and conquer nature.’



            ‘This was the development of an invented tradition highlighting the DIY store as an alternative temple of worship in a secular society: a new place for self-improvement.’ Original Score by Daniel O’Sullivan



Here is the performance:


The other performance and installation which fascinated me was her art piece ‘Laid to Rest’ which was commissioned by the Wellcome Collection as part of “Dirt” 2011. Her idea for an art piece laid upon the idea of how the city (London) was evolving using its own dust during Victorian times.

L0068333 London labour and the London poor


After a huge amount of research she started to make bricks, with dust, she has collected herself or donated to her from all over the world. Then, each brick was engraved with initials of people or institutions who donated their dust.

C0071778 Serena Korda, Laid to Rest

C0071786 Serena Korda, Laid to Rest

   “ The brick stack grew over the course of the exhibition and a mythical marching band “The Brick Keepers” consecrated the bricks combining choral incantations and ritual dance in a tribute to the overlooked and forgotten.’

Then, as a part of the performance, all bricks were presented in the parade in London, and then buried in the soil, back to the dust.


Here is the performance:


The thing that I have highlighted for my practice during her presentation, is that the process of making will always influence the performance and that don’t worry if something goes with your art piece, it will always go wrong, and in the end you will eventually find a way to fix it. (as her piece ‘Aping the Beast’)

All pictures used are from her official web page:



                                       Sotheby’s Italian Sale 17th of Oct

On Friday the 17th, I have visited one of the most famous of auction houses – Sotheby’s.
I went on Italian Sale evening auction, in which there were presented 49 works of Italian artists(Lucio Fontana,Enrico Castellani, Piero Manzoni, and others) who participated in the ZERO art movement during 1957(the response to post Second War conditions.). Some of the works were from Giobatta Meneguzzo collection. It was the biggest and greatest sale ever of 20th century Italian Art.


The interesting thing to note that most works were in white color, and the auction itself celebrated white color. For me, as an artist it was an amazing experience, to see with my own eyes, how prices for art are getting created, and how collectors are getting into some sort of ‘play’, by rising the estimates for the sale.

This auction was run by Oliver Barker, the Deputy Chairman, Europe and Senior International Specialist, Contemporary Art. He was the one, who got Damien Hirst Pharmacy into Sotheby’s, and he is the one who helps to maintain that adrenaline feeling of auction and agitate among collectors, which makes them rise their bids, and make sale records.Processed with VSCOcam with b1 preset

The sale total for that evening was 41.4 million. The record for the artist at action was made for Enrico Castellani. His piece, ‘Superficie Bianca’,1967, was sold to a European private collector for £3,778,500. And the biggest sale of the piece on auction was Piero Manzoni’s, Achrome, (1958-59), which was sold for £12,626,500 to European Private.

It was just amazing and inspiring!

Enrico-Castellani-Superficie-Bianca  Enrico Castellani, ‘Superficie Bianca’

achrome1Piero Manzoni’s, Achrome, (1958-59)

Watch the video to get a feeling of an auction and agiotage it brought to the global art market, and some insights:

Information used from:




                              Visit to Tate Modern in search for Fontana

After the auction, I have decided to research the terms of a canvas, being  rather an art object, then a platform for a painting.

During the Sotheby’s auction, there were a few lots sold, by Lucio Fontana (1899-1968) an Italian painter and sculptor, who was the part of Zero art movement, created by Heinz Mack in 1957.

a zone of silence and of pure possibilities for a new beginning.” Otto  Piene

I became interested in him, because of his use of canvas as a medium, and from 1949 he started the new art – Spatial Concept, during which he developed his signature art, slashes on painted canvases and during his later art, this concept was divided into two parts: Tagli(Slashes) and Buchi(wholes). ‘Art dies but is saved by gesture’, Fontana, 1948. This was his response to post-war conditions, after the second world war. Slashes become a representation of pain and wounds on skin.

The one I’ve admire and seen on the auction, is Concetto Spaziale, Attese, 1964-65, which was sold for £1,560,900.


There were other works by the artist, but this one have inspired me for the start of a new project, and just have taken my mind.

Furthermore, as Fontana’s work is displayed in most famous museums in the world, I have made a decision to go to Tate Modern, to find some other work by him.

Spatial Concept 'Waiting' 1960 by Lucio Fontana 1899-1968

Spatial Concept ‘Waiting’, 1960

So, here it was, another masterpiece by Fontana, it was so interesting to note, how the same gesture, brought different images and understanding to the viewer.

Information used:


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