Abstraction in painting can be like music. There may be correspondences with the phenomenal world, the world of appearances, but these are like faint memories – triggers to an emotional response rather than the subject of the painting. Patterns of lines, brushstrokes, shapes and colour, textures, have a mysterious power to resonate in the psyche at a level that defies conscious explanation, just as in listening to music we can be deeply moved, without fully understanding what it is that moves us.
Battersea Power Station
Charcoal, ink, acrylic, bleach, water soluble crayons on paper
178 x 112cm - 1988
How the experience of the residency entered the work is measured less in formal changes within the paintings than in the clarity and force of their emotional impact.
Though they are rooted in the experience of being in the sensory world (light and space are certainly implicit) the images are not attempts to represent or equate to natural phenomena. Their tension comes from the most subtle of nuances: how a line appears against a tone, how a shape registers at a certain scale, where the viewer finds themselves in relation to the size of the support.
The paintings are the result of a kind of game of consequences, the potential for emotional effect dependent upon relationships that may, or may not, happen during the actions and decisions of process.”
Extract from “The Josef and Anni Albers Foundation Residency” by Emma Hill 2006
Calinescu has been the recipient of a number of awards, including the Pollock Krasner Foundation Grant, the David Murray Travel Scholarship (selected by the late Sandra Blow two years in a row), the Landseer Scholarship, and the Richard Ford Award for Travel.
Her work has featured in numerous exhibitions both nationally and internationally and is held in many important corporate collections including Mittal Steel, the Bank of England, Reuters and British Land, and private collections in the United Kingdom, Ireland, Japan, Switzerland and America.
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