Toxic Life
The Toxic Life collection offers a snapshot of life from a woman’s perspective over of the centuries.
The latest works in the Toxic series thematically extend the message of humanity’s need to stand up against the evils of today’s corrupt and indifferent society. My colour palette has brightened and evolved from my previous dark period. The blue, red and yellow flashes are uplifting and vibrant, although the subject matter has stern undertones. As with Toxic Art, military emblems adorn all the subjects, having lost their path and buying into materialism and superficiality, the symbol of capitalism gone wrong. The vibrancy of the colours is representative of the energy and potential, which is diverted into opulence and prostitution of the inner-self. The soul is up for grabs at the mere price of outer beauty and obscured by modern accessories. The pure turned perverse and toxic. The puppet like forms controlled by society’s imposition of what is acceptable and expected. The female form contorted without depth or real purpose rather than freed to grow organically into true contributors of society, into autonomous, self-determined individuals. The toxic series are almost comparable to religious icons; only the religious symbolism is replaced on fake foundations of the modern woman.
Semi-abstract large format oil on canvas depicts the female embodiment in many forms. The series is designed to be viewed from afar, each canvas accompanied by the next, reinforcing a new perspective, although each canvas, individually conveys the unequivocal clarity of modern times. Oppression, corruption, abuse of power and human rights, although only symbolically represented by the “nuclear hazard” and toxicity.
The smaller formats are dressed, literally with local baroque materials, lace and pearls together with the symbols of authority, medals, epaulettes and pins. The grandiose majestic textiles, evoking many memories from my previous stylist life, arouse elegant feminist overtones, underpinned by the finery of power motifs unveiling strength and purpose.
Ultimately, my paintings are a violent expulsion of what is within me: my experiences, my past, my present, and my future. They need to be big and colourful because I have many experiences to spew onto my canvasses, and it is much cheaper than paying for a therapist.
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| Toxic,200x140cm,oil on canvas |
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| Crucifixion,oil on canvas,200x140cm |
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| Martyrdom,200x156cm,oil on canvas |
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| My Secret,200x166cm,oil on canvas |
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| Toxic Lunch, 200x100cm,oil on canvas |
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| Be Prepared,200x168cm,oil on canvas |
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| Kicking Back,200x175cm,oil on canvas |
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| First Kiss,300x200cm,oil on canvas |
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| Golden Throne,200x152cm,oil on canvas |
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Three Toxic Cubes 60 x 60cms & three Toxic Cuboid 180 x 60cms
Oil on canvas |
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| Toxic Life,1600x200cm,oil on canvas |
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| God Bless, 200x150cm, oil on canvas |
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| Toxic Baby, 200x150cm,oil on canvas |
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| Toxic Mother, 200x170cm,oil on canvas |
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| Toxic Lesson, 200x180cm, oil on canvas |
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| Toxic Dance, 200x150cm, oil on canvas |
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| Toxic Drummer, 200x160cm, oil on canvas |
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| Toxic Torreadora, 200x160cm,oil on canvas |
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| Protest, 200x180cm, Oil on canvas |
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| Toxic Laugh, 200x90cm, oil on canvas |
Dear All,
I hope you are all well. I just wanted to explain briefly the motive behind my recent actions whereby I urged you all it would be best to avoid the Art in the Garden performance I had planned for this past weekend.
I was asked by the organizers to put on an event that would help bring something artistic to the proceedings which I duly took on as a challenge. The idea from my perspective was to try & stand out from the waves & waves of portrait & landscapes which were to dominate the event. You know my approach is always to being a message or a communication with all forms of art I create.Together with the cooperation of philosopher & writer Keni Lynch and several local artists Marta Balla, Marta Font Mestre, we were able to create something original which would be both a performance by way of witnessing its execution & at the same time serve as a permanent monument to the subject.
With the recent publicity & ongoing discussions following the nuclear accidents due to reasons varying between bad geographical location & sites well past their shelf life, I decided a form of nuclear message would best be served which would also be a dramatic stage in terms of the performance we would put on including a live meltdown & contamination & futile attempts at containment. I had a feeling there would be some ignorant acts of protest or some form of censorship, which is why I decided it would be best for you to avoid the event this past weekend.
Surprisingly, on Saturday afternoon, the performance went ahead as scheduled with great success. The performance attracted interest & was filmed for posterity & the end result exceeded our expectation. What I wasn’t to know, was that within hours of us leaving the “Falling on Deaf Ears” unprotected that evening, the work would be dismantled entirely & reduced to garbage with the structure being to used to host other more traditional aesthetically acceptable forms of art.
I recognized that Spain maybe wasn’t the home of the most “avant garde” art in the world, but I did believe at least that it allowed freedom of expression in whatever forum & didn’t imagine that such faceless cowardly censorship existed so close to home.
So, I hope you will forgive me for my decision to refrain from inviting you all & that you will allow me to show you the event from the safe distance via a camera lens.
