Zinni Veshi

A Musician Riding the Subway
(89k GIF image)

Around the Table
(82k GIF image)

Three on the Subway
(89k GIF image)

Beach Gathering
(84k GIF image)

The Castle
(89k GIF image)

Waiting for Klamm
(93k GIF image)

Artist Statement:

My paintings are subjective constructions created mostly to accommodate and fulfill certain psychological needs. They are created, generally, to express, articulate, and bring to life certain deep feelings, ideas, or impulses that seem to be fundamental to my existence. They create a playing field where the relationships of the most incongruous elements can produce certain moods and situations that can, in themselves, be a redemptive phenomena. Through the intensification of all the constituents of the painting maximum movement is made possible by creating and elaborating a certain 'modus operandi' that can be a vehicle of expression without falling into subordination.

My paintings are hybrids composed with discontinuous and incompatible elements. There are three factors that comprise the essence of my works: oil paint as material; non- descriptive means of expression; and the non-representational use of the human figure. I will elaborate further.

First, the exploitation and utilization of the physical qualities of oil paint as independent factors, such as its ability to have a thick, three-dimensional body that generates a strong sensation of the material, almost like in bas-relief, and its extraordinary quality for spontaneous, high-speed passages of complementary color, of one tone to another, and, to a lesser degree, of one value to the other.

Secondly, the employment of means of expression (i.e. color, line, and chiaroscuro) in a way that reveals more of their inner nature, and their inherent relationships, than being simply descriptive instruments of the shapes and forms that they fashion.

The haptic use of color and the implementation of the broken tone method bring all the aspects of the painting into close approximation. Through their association of complementariness, where colors and tones echo each other, they create a web of simultaneous and symphonic relationship. Lines move, turn, stretch, cut, strike, cross, and rejoin the rhythm of other lines, creating an ecstatic and high-speed movement. They are arranged, mostly, as broken arch patterns, and the multiplication and distribution of these broken arch configurations constitute the basic module of paintings. Rhythmically multiplied, the repetition of this unit generates as a consequence the "overall" nature of these works.

Chiaroscuro is created by means of the use of a rich range of tones that move from black to white. Through fast passages from dark to light, spontaneous rifts and fissures of different forms and constellations of minute shape appear as they recede to the very bottom of the background. Bulging shapes and protruding patterns are created as well. Both rifts and bulging shapes are repeated all over the canvas plane, creating a kind of plowed surface.

Thirdly, the human figures that participate in the compositions are in a certain way geometric and schematic to better inhabit the general abstract form of the work. They relate to each other by the formal means of color, line, shape, and composition, and in terms of the disparity of their exaggerated expressions (laughter vs. deep depression, screaming vs. sleeping, protesting vs. silencing, etc.)

They are displaced from their previous space, and are distorted, deformed, pushed, stretched and pressed against a thick painted background. They appear to come out of the paint, as in an unfinished sculpture where the figure emerges from the stone. In other words, in sculpture there is the stone and the figure; here is the paint and the figuration. Furthermore, it is not just the figure in a background, but the figure and the background. The paint and the figure, and their interchanging relationships, create a pictorial, shallow, and haptic space that is governed only by the immanent laws of painting. Other factors that contribute in the formation of this space are the superimposition of brushstrokes over brushstrokes, and shapes over shapes that exploit the expanding /contracting quality of color, the vigorous movement of forces in and out of the picture plane, the dynamic paint /figure relationships, and the geometrical nature of the compositions.

This short statement is nothing more than a sketchy form of analysis of the work presented. It moves over the whole body of my paintings without stopping and dealing with each individually. Therefore, notwithstanding all my efforts to make the matter and 'raison d'etre' of these paintings as clear as possible, in the end it becomes simply a reductionistic representation of the multiple significance of the work. Nevertheless, in this synopsis I wanted, firstly, to generate a clear presentation of the abstract and expressionistic inner constitution of my paintings. Secondly, to form a general feeling of what underlies the art form of my work; it is not simply from an aesthetic standpoint, but basically a psychological and temperamental disposition that has oriented my art life toward this kind of horizon, namely, saturate with meaning every atom of the work, and strive for the outmost expression.

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