Faba
Polyphonic Abandon in the Work of Faba
By D.F.Colman (copyright 2007)
Fired by an elemental understanding of the flow of the unconscious, Faba’s polyphonic paintings have a thoroughgoing sense of elegance and grace. In her Abstraction Series Faba activates the picture plane with just the barest flicker of an internalised intensity, a slow burn of recognition ignites the imagery due to the artist’s incremental (and often extremely gingerly) layering of her brushstrokes and incorporated objects. Once applied in what appears to be a mental state of nuance control the artist’s colors and febrile contours take shape within Faba's worlds in which horizons, edges and the unseen world in general is manipulated in order to get our imaginations moving. The result is electrifying. Art, like life, rests within its details and Faba has a strong grasp of the importance of applying contrasts in her work in order to jump-start the imagination of the beholder.
In works such as Abstraction Series #1 where the saturated picture plane is filled with surges of energetic and involutes brushstrokes the artist has produced an imagistic rendering of dots and striation strewn against an undifferentiated color filled background. The renderings of shapes and outlines which might generally be related to the retinal recognition of objects in Faba’s work might be seen as equivalent to Sartre's imaginative consciousness. As he states in his The Psychology of the Imagination, it presents itself as a spontaneity which produces and holds on to the object." By contrast, Faba’s diffused background on which rests her slightly undulating, patterns may be seen as equivalent with Sartre's "perceptual consciousness" in which it is characterized as appear[ing] to itself as passive." The interplay between both forms of knowingness produces spontaneity which saturates Faba’s Abstract Series with a soft and bright intensity.
Faba charges her work with intimations of play and poignant longing for time passing. There is a metaphysical sense of anxiety that pervades this moody work in which implied oppositions are put into play. The suggestion of eternal recurrence, so valorised by Nietzsche in his "Ecce Homo", seems particularly noteworthy in this work. Here the affirmation of passing away and destroying and the implication of the unconditional and infinitely repeated cyclical course of all things pervades this imagistic painting. In Abstract Series, what is perhaps her most enigmatic work, Faba's attempts to conflate the space of representation with that mysterious non-mimetic "other space" assigned to the mystery of looking itself. The role of a collective unseen, therefore, is played against that which is demarcated and denotated. A slippage of yet complementary viewpoints predominates in these remarkable works as a quality which Gombrich calls "perceptual intersubjectivity" prevails.
This intersubjective bias, (as Merleau-Ponty describes it) means that each and eve...
Scopri opere d'arte contemporanea di Faba, naviga tra le opere recenti e acquista online. Categorie: artisti americani contemporanei. Domini artistici: Pittura, Scultura. Tipo di account: Artista , iscritto dal 2006 (Paese di origine Stati Uniti). Acquista gli ultimi lavori di Faba su Artmajeur: Scopri le opere dell'artista contemporaneo Faba. Sfoglia le sue opere d'arte, compra le opere originali o le stampe di alta qualità.
Valutazione dell'artista, Biografia, Studio dell'artista:
Recent Work • 10 opere
Guarda tuttoAbstract • 8 opere
Guarda tuttoPop Art • 4 opere
Guarda tuttoSculpture Collection • 6 opere
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Biografia
Polyphonic Abandon in the Work of Faba
By D.F.Colman (copyright 2007)
Fired by an elemental understanding of the flow of the unconscious, Faba’s polyphonic paintings have a thoroughgoing sense of elegance and grace. In her Abstraction Series Faba activates the picture plane with just the barest flicker of an internalised intensity, a slow burn of recognition ignites the imagery due to the artist’s incremental (and often extremely gingerly) layering of her brushstrokes and incorporated objects. Once applied in what appears to be a mental state of nuance control the artist’s colors and febrile contours take shape within Faba's worlds in which horizons, edges and the unseen world in general is manipulated in order to get our imaginations moving. The result is electrifying. Art, like life, rests within its details and Faba has a strong grasp of the importance of applying contrasts in her work in order to jump-start the imagination of the beholder.
In works such as Abstraction Series #1 where the saturated picture plane is filled with surges of energetic and involutes brushstrokes the artist has produced an imagistic rendering of dots and striation strewn against an undifferentiated color filled background. The renderings of shapes and outlines which might generally be related to the retinal recognition of objects in Faba’s work might be seen as equivalent to Sartre's imaginative consciousness. As he states in his The Psychology of the Imagination, it presents itself as a spontaneity which produces and holds on to the object." By contrast, Faba’s diffused background on which rests her slightly undulating, patterns may be seen as equivalent with Sartre's "perceptual consciousness" in which it is characterized as appear[ing] to itself as passive." The interplay between both forms of knowingness produces spontaneity which saturates Faba’s Abstract Series with a soft and bright intensity.
Faba charges her work with intimations of play and poignant longing for time passing. There is a metaphysical sense of anxiety that pervades this moody work in which implied oppositions are put into play. The suggestion of eternal recurrence, so valorised by Nietzsche in his "Ecce Homo", seems particularly noteworthy in this work. Here the affirmation of passing away and destroying and the implication of the unconditional and infinitely repeated cyclical course of all things pervades this imagistic painting. In Abstract Series, what is perhaps her most enigmatic work, Faba's attempts to conflate the space of representation with that mysterious non-mimetic "other space" assigned to the mystery of looking itself. The role of a collective unseen, therefore, is played against that which is demarcated and denotated. A slippage of yet complementary viewpoints predominates in these remarkable works as a quality which Gombrich calls "perceptual intersubjectivity" prevails.
This intersubjective bias, (as Merleau-Ponty describes it) means that each and eve...
- Nazionalità: STATI UNITI
- Data di nascita : 1957
- Domini artistici:
- Gruppi: Artisti Americani Contemporanei
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BRATISLAVA - MICHALSKY DVOR GALLERY
Press release
Inner Bridges to Outer Scenes
7 East 51st Street
Press release
> Muestra SGUARDI DI DONNA, en el Castillo D'Ayala
> Valva de Carosino, organized by Comune di Carosino
> (Ayuntamiento de Carosino) and by The Assoziacione
> Culturale SÈMATA de Taranto, on March 10 -11 , 2007.
Muestra SGUARDI DI DONNA
CASTILLO D'AYALA VALVA De CAROSINO
I am exposing "BIRDS OF PARADISE - BLUE" en la
> Muestra SGUARDI DI DONNA, en el Castillo D'Ayala
> Valva de Carosino, organized by Comune di Carosino
> (Ayuntamiento de Carosino) and by The Assoziacione
> Culturale SÈMATA de Taranto, on March 10 -11 , 2007.
Press release
"ANTONIO GUALDA – Composer” (LARGE Size)
Summoned by the Cultural Association "Valentin Ruiz Aznar" (Granada. Spain).
Obra: PRIMER PREMIO de PINTURA del GRAN TAMAñO
Work First Prize - LARGE Size:
Autora (Author): Faba. New York (EEUU / USA)
Título (Title): "Birds of Paradise - Blue"
Oil on Canvas
PRIMER PREMIO de PINTURA GRAN TAMAñO
First Prize - LARGE Size
MIWAA, New Art Center
New Art Center 580 Eight Avenue
SOFA Art Fair – Chicago 2006, Maria Elena Kravetz Gallery, Festival Hall, Navy Pier-Chicago, November 9 – 12, 2006 - Website: www.sofaexpo.com
Festival Hall, Navy Pier-
Women in the Arts Foundation -2006
Group Show, Tribeca Grill, Manhattan, NY
May 20, 2006 – June 20, 2006
New York - Sofa 2006 - Maria Elena Kravetz Gallery
Manhattan Antiques Triple Pier Expo - Via Antica -2005
Via Antica, Hudson River Piers 88, 90, 92
48-51st Streets, New York, NY March 2005.
Ellsworth Museum -Openning
Via Antica 2005- 2006
11 Rue Jacob, St. Germain – Paris, France - October 15, 2005 to April, 2006
St. Tropez - Girasol
Oil on Canvas
Comptoir du Marais 2005
8 Rue du Moussy, Paris – France - September 12 – 25, 2005
Bordeaux
Oil on Canvas
Slap
Abstract- Oil on canvas
Asian Fusion Gallery -2005
Rain Forest Art Exhibition, Asian Culture Building
15 East 4oth Street, New York, New York, September 9 – October 2, 2005
Website: exhibitions
Venetian Mask
Oil on Canvas
Art Contemporary, Photography SOFA -Palm Beach 2005
(Artempresa) Maria Elena Kravetz Gallery, Palm Beach Convention Center, Palm Beach, Florida - January 13th thru January 17, 2005 -
Website: