Tuesday, October 15, 2019
Why Learn Art?
Friday, April 20, 2018
Tuesday, February 27, 2018
Sunday, January 28, 2018
Introduction to "Amanda on Architecture."
http://www.jartstudiogallery.com/AboutAmanda.htm
Monday, August 11, 2014
We Have it All
Friday, August 23, 2013
Tuesday, August 6, 2013
Hand Painted Hearts ♥
They are available for purchase both at JArt Studio-Gallery as well as online:
Monday, April 1, 2013
Monday, December 17, 2012
Friday, September 7, 2012
Monday, September 3, 2012
Inspirational
As far as possible, without surrender, be on good terms with all persons. Speak your truth quietly and clearly; and listen to others, even to the dull and the ignorant, they too have their story. Avoid loud and aggressive persons, they are vexations to the spirit.
If you compare yourself with others, you may become vain and bitter; for always there will be greater and lesser persons than yourself. Enjoy your achievements as well as your plans. Keep interested in your own career, however humble; it is a real possession in the changing fortunes of time.
Exercise caution in your business affairs, for the world is full of trickery. But let this not blind you to what virtue there is; many persons strive for high ideals, and everywhere life is full of heroism. Be yourself. Especially, do not feign affection. Neither be cynical about love, for in the face of all aridity and disenchantment it is perennial as the grass.
Take kindly to the counsel of the years, gracefully surrendering the things of youth. Nurture strength of spirit to shield you in sudden misfortune. But do not distress yourself with imaginings. Many fears are born of fatigue and loneliness.
Beyond a wholesome discipline, be gentle with yourself. You are a child of the universe, no less than the trees and the stars; you have a right to be here. And whether or not it is clear to you, no doubt the universe is unfolding as it should.
Therefore be at peace with God, whatever you conceive Him to be, and whatever your labors and aspirations, in the noisy confusion of life, keep peace in your soul.
With all its sham, drudgery and broken dreams, it is still a beautiful world.
Be cheerful. Strive to be happy'.
Max Ehrmann c.1920
Tuesday, April 24, 2012
A Separation
Wednesday, April 18, 2012
Sunday, January 15, 2012
More quotes I like...
and deeds always mean relationship".
- Carl Jung -
Monday, December 12, 2011
Monday, August 22, 2011


When I made this painting I was thinking about identity and in particular how it is not inherently fixed onto a person, but rather, it is continually shaped in social space, and how it always takes form in relation to other people as well as the context a person finds herself/ himself in.
Keeping this in mind, I wanted to create an open ended piece which is not fixed and original and which includes not only the meaning I wanted to give to the artwork but also allow for other possible interpretations – again, depending on the particular audience viewing the piece as well as the context it is viewed in.
I thought this was particularly challenging to do in an oil painting as they tend do be more often seen as fixed original and intentional objects, especially if one thinks at the artwork produced by modernist artists, this was in fact, what they set themselves to achieve: artworks that are fixed in their meaning, original and separate from life and its particular context.
However I was also aware that in comparison to performance or body art in general my work would have had some limitations, such as the fact that although I am both subject/object because I have included myself in the painting and I am the art maker, my body is “without organs” and is a representation rather than the real thing: a breathing, living, thinking, feeling and desiring body. But my aim was to provide another perspective, particularly on painting, and try to break down the assumptions regarding its absolute status, especially when considering that painting is often seen as the medium of the male artist par excellence and women – apparently the muses inspiring his genius - where reduced to mere objects that aroused the artists as well as the (supposedly male) viewers pleasure.
So, by including the mirror in the artwork, I wanted to link the piece back with its context and the world; art and life are therefore no longer separated but they support each other in a constant flux. The reflection of the mirror becomes part of the painting and the painting needs its surrounding for the reflection. In addition, the piece is never fixed: light reflected will never be the same at different moments in time, the background provided by the mirror will always change depending on the viewers and where the artwork is viewed.
Another possible limitation for this piece could be that I am a “thin white body” and I am not trying to break pleasure but I actually instigate it. With regards to the former, I think that that the “thin white body” is who I am, and as an artist, I still want to be able to provide my own point of view regardless of the colour of my skin, or what I look like – even though they might be regarded as “normative” features. Sometimes I think discrimination could also work the other way around. In addition, although I do not have any visible marks or features pointing to specific body alienation, this does not mean that I am not an alienated subject. With regards to trying to instigate rather than break down pleasure, this is what I actually wanted to do, but by including the mirror so that the viewer is also reflected in the painting, she/he can no longer remain veiled and hide her/his own investments and desires; this, for me, is what allows myself not to be objectified, and not by simply trying to avoid at all cost pleasure, as most women artists working in a strictly anti-essentialist manner would often claim.
Moreover, by reflecting the viewer onto the painting she/he becomes also both subject and object and thus the relationship between viewers and the artwork/artist becomes interdependent and intersubjective, and it is a relationship which is based on simultaneous subjective/objective identifications rather than one which, as in most of Western painting tradition, gave absolute status and power to the disembodied viewing subjects objectifying the body-woman. The viewer is no longer veiled or disembodies and thus can no longer make any disinterested and absolute claims, but rather, has to acknowledge her/his own contingency, motives and investments.
This artwork seems to be really popular, every time someone sees it in my studio they always ask me about it. And it is funny because although I am a representation in this piece, people seem to give for granted that I am a real body and one of the question I am often asked is what am I thinking about, which to me is also quite interesting for the fact that, by looking at my body posture, the way my head is turned towards the mirror I give the impression that I am pensive - and not the other way around “I think therefore I am”.
Another thing I like about this work is that it really does engage with its surroundings and with the audience, often I find people checking themselves in the mirror, or I get told what a great idea I had to include a mirror in a painting – for its use value to be put in a bedroom for example - and they want to commission me with a similar piece. So I can say that although there might be some limitations regarding this work, I think I have perhaps managed to merge art (in particular painting) and life, as well as subject with object, but most of all I hope I was able to create an interdependent and mutual relationship between the audience, the artwork and the world, as well as challenge common assumption about women, painting and art viewing.
Sunday, May 8, 2011
Friday, January 28, 2011
Primitively Modern
I took these photos while on a holiday in the Namibian Desert, in particular, in the mining ghost town of Kolmanskop near Luderitz. I was very fascinated to see how nature and culture shaped and interacted with each other, and how they engaged in a constant flux and becoming.
In some areas of the town, for example, one can see how time and the elements have deteriorated and smashed much of glass from the houses windows, but where it still remains intact, the sand has deposited and formed a golden layer providing the perfect background for tourists to write their names, dates, and comments using their fingers.
Where instead the sand was not obstructed by the windows, it was able to reach inside the houses creating small dunes which now cover floors, room, stairs, and furniture. Tourists visiting these empty houses often need to walk on top of the sand, leaving once again their own marks and footprints…But only until the next change, event; or until the wind will bring new dust that will cover or blow away these traces, creating other intriguing shapes, patters and spaces.
Tuesday, September 28, 2010
10 Tips for Art Students and Professional Artists
1 - Paint and draw with your heart, not your head.
2 - Paint and draw because you ENJOY doing so.
3 - Place yourself in a comfortable room/work area with good lighting, somewhere you feel inspired and relaxed. Close the door to the world. Put some music on if it helps you. ENJOY.
4 - Don't rush through an artwork, take your time. Art is like a child: it requires a LOT of care and attention - the outcome of a piece is proportioned to the time/attention you put into it; at least for realistic subjects.
5 - NEVER be afraid of making mistakes! Mistakes are good, they help you get better. The problem in fact, is not in finding the mistakes, but the problem arises when you don't see them, as then you cannot fix them and improve your work.
6 - Be proud of your artwork and don't be too critical - you can always do better in the next piece.
7 - If you feel frustrated with a work, and you cannot quite figure out where you went wrong with it, leave it for a couple of days and then go back to it with a fresh mind...you might actually be pleasantly surprised and feel your work is not as bad as you initially thought :) - and it might also be easier for you to see if something needs changing.
8 - If you are not in the mood or have no inspiration, LEAVE IT! You are only going to make things worst and end up with a lot of frustration! Go for a walk, take a break and then go back to your art.
9 - Do get inspiration from other artists; yet not too much. Remember: you are you and your work is yours. Don't compare yourself to others, you are unique.
10 - And finally...something I often tell my students but perhaps don't stress enough: don't be afraid to experiment or bend the rules. A good artist is not just someone that can copy and follow all the steps, instead, she/he is someone who knows the processes but is not afraid of using her/his own instinct/judgment and imagination to experiment, and create something new!

















