Painting is the beginning 

the first attempts 

to nurse, to embrace, to map and understand the wounds and mistakes 

of history

 

Painting is the beginning 

the first attempts 

(strokes of sanity)

to erase, to elevate, to excel and invent new lines

for society’s rebirth

 

A painter 

may have the reputation of being excluded and drawn to herself,

but within her making

her painting 

is for the concern of all

 

Enter, enter, go in

the landscape of painting 

awaits you

bright and open

shinning on the walls of the end 

 

The colour of colour

the delight of vision 

the Nature Morte of our perception

pinned, nailed and soaked into the piece of canvas 

 

Forget about the orbit, the sun and the diamant ...

The painting

takes you to the very seamstress of Being

freed of the constant need of the body to survive 

 

At some point throughout a person’s life

one should acquire a painting

- and a good one -

and then use it, look at it, stare at it, dwell by it, 

it will function like an Icon of Life

 

 

 

The blooming of colours

I take an idea (/an image) and then I erase it partly and remake it to handle metaphorically “elimination of form”. To erase on a metaphorical level also means to create space for stillness and meditation in a world full of meanings and information.

I believe that my artwork can function like an instrument to refresh or revitalise our mind (and soul) - similar to the idea of William Blake: "If the doors of perception were cleansed everything would appear to man as it is, infinite".

 

My images are trying to both describe the delight of perception and simultaniously debating abstraction and the idea of the disappearance of form and meaning. Art for me is not an illustration, idea or a representation it is rather like a meditative space for the soul to gain space and move about freely.

 

From 2007 - 2016, I embarked on a painting and visual field research across Europe, living in Venice, Rome, Milan, Paris and Athens, visiting the artworks of the European Masters, researching religious and deific iconography, and exploring the history and meaning of traditional women costuming that all still influence and make up my work today.

Especially the Ancient and contemporary Athens and Greece has had a huge and life changing influence to both my work and persona.

I lived partly or full time in Athens for 6 years (2011-2016) and I stayed so long because I realised immediately when arriving in 2011 that aspects of my own art understanding were similar to that of the Ancient Greeks. Furthermore the strong light in Greece did help me to develop artworks with colour used and painted as if it was light itself or the idea of illuminattion.

Now that I live in Copenhagen, I continue to go some months per year to Greece to focus on my pictorial research on colour and ancient greek art.

 

My daily practice and main focus is painting. Painting fits my temperament, agreeing to its manual construct that exposes everything and that every stroke is unique. Painting's architecture and dna for me functions like a visual example of what is defined by Chaos Theory: the quality of the whole is determined by even the smallest gesture, which may seem tiny or irrelevant.

 

I build up my paintings from sources of either random found photography, photography I take myself, images of art historical works, and drawings made of an object or person, or directly from imagination.

My work always discusses the figure and scale. I use scaling (size wise) as a method. Scaling a tiny work to a huge piece and vice versa is pictorially a method based on the endless and indifferent grid and a free moving entities.

 

My approach to use both intense or delicate color is representative of both the rough, hard aspects of our emotional lives alongside the moments that are sweet and full of love, aiming to portray the vitality of human emotion in balance and to include the lightness of being.

 

The formal use of collaging and re-sampling of images of art history is based on my idea of collective memory and employed with a hope for a sense of freedom, to decide partly for ourselves who we are. As a female artist, by re-using some of the cliches of art history, I work to reframe the meaning of the original image into a new approach that seeks the liberty to do whatever she wants with history, for the sake of a more healthy, ethical and holistic approach to the Self.

 

Painting 2017 - 2018

Augusta Atla van Fogh

 

Publication / monography

Limited edition of 500 copies

19 x 26 cm, 300 + 170 gram paper

signed inside 

2018 

 

Sponsor: Grosserer L.F. Foghts Fond (dk)

 

soon to order online

MALERI 2017 - 2018

 

Farver i flor

Jeg mener at kunstværket kan fungere som et instrument til forfriskning eller revitalisering af vores sind (og sjæl) - som William Blake i et digt formulerer: "If the doors of perception were cleansed everything would appear to man as it is, infinite".

 

Mine billeder vil beskrive sanserne samtidig med ideen om tomhed. Kunst for mig er ikke en illustration, ide eller en repræsentation, det er snarere som en meditations form.

 

Fra 2007 til 2016 tog jeg på en rejse, et maleri- og visuel research gennem Europa, jeg boede i Venedig, Rom, Milano, Paris og Athen, besøgte de europæiske mestres kunstværker, undersøgte religiøs ikonografi og traditionelle kvinder kostymers historie og geografi - denne research påvirker stadig på mit arbejde i dag.

Især den antikke og nutidige Athen og Grækenland har haft en stor og livsforandrende indflydelse på både mit arbejde og min person.

Jeg boede delviast eller fuldtid i Athen mellem 2011-2016 og jeg blev der så længe, fordi jeg straks indså ved ankomst i 2011, at nogen vigtige aspekter af min egen kunstforståelse (som kunstner i udvikling af egn kunst) og Antikkens kunstforståelse havde ligheder. Samt det stærke lys i Grækenland var kæmpe hjælp til udvikling af mine værker der er baseret på ideen om maleriets farve som lys.

Nu hvor jeg bor i København rejser jeg stadig til Grækenland nogen måneder om året, besøger arkæologi og bruger lyset til at male nye værker.

 

Min daglige praksis og fokus er maleri. Maleri passer til mit temperament - den manuelle konstruktion, der eksponerer alt og ethvert pensel strøj er unikt. Maleriets arkitektur og dna for mig fungerer som et visuelt eksempel på, hvad der er defineret af Kaos Teorien: kvaliteten af ​​hele er bestemt af selv den mindste gestus, som kan virke lille eller irrelevant.

 

Jeg opbygger mine malerier fra kilder af enten tilfældigt fundet fotografi, fotografi jeg tager selv, billeder af kunsthistoriske værker og skitser af et objekt eller en person eller direkte fra min fantasi.

Mit arbejde diskuterer altid kroppens figur og skala. Jeg bruger også skalering (størrelse) som en metode. Skalering af et lille værk (tegning) til et stort værk, dette er billed-mæssigt en metode baseret på det endeløse og ligeglade grid og en frit bevægende enhed.

 

Min tilgang til både intens og delikat farve er et metaforisk greb for de hårde aspekter af vores følelsesmæssige liv sammen med de øjeblikke, der er søde og fulde af kærlighed, vitaliteten af ​​menneskelig følelse sat i balance og lethed.

 

Den formelle brug af collage og re-sampling af billeder af kunsthistorien er baseret på min ide om kollektiv hukommelse og brugt med et håb om en følelse af frihed til at beslutte hvem vi er. Som kvindelig kunstner arbejder med at genbruge nogen af kunsthistoriens kliche’er for at forandre betydningen af ​​det originale billede. En tilgang, der søger friheden til at gøre hvad hun vil med historien for en mere sund, etisk og holistisk tilgang til selvet.

 

 

2018 copyright, all rights reserved augusta atla + member of VISDA