My work has changed drastically since the beginning of the year, from two-dimensional to three-dimensional work. I became particularly interested in structures and wanted to translate my ideas into a more accessible and responsive way of working, maintaining, however, the illusory and intricate nature of my initial paintings. In my earlier works, in fact, I would mimic drops of paint by stitching them, one by one, onto the surface.
I began to look at the work of Eva Hesse, Pae White, Cornelia Parker, Anne Wilson, Sarah Sze, Kate Terry and, just recently, Fred Sandback. These artists fill the space by building organic constructions - using fragile hanging materials and found or handmade objects - almost creating instruments to measure its emptiness. Consciously or unconsciously, their installations produce a dimension in which the viewer has to negotiate and move through. I became fascinated by the changeable quality of these materials, and the playful way they could be put together.
Attempting a similar approach, my work gradually left the canvas. I introduced new sculptural elements, such as wire and metals. Inspired by the work of Eva Rothschild, I also built dream catchers, which allowed me to become more aware of the different perspectives and fixed points within a space; moreover, observe how light affects the work.
I became interested in the viewer’s experience and interaction with the work. As a result of this concern, in my research I have dealt with the notion of perception and the deception of the senses.
My final piece, which is about artificial growth, includes all the outcomes of my previous experimentations with different sources of materials, and their arrangement within an architectural space. In this installation, however, the materials are somewhat connected; this is to give to the overall composition uniformity of concepts and ideas.


Contact Details:

Veronica Mulas.
MA Fine Art Painting.

veromulas@yahoo.co.uk

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