Utilising concentrated ink, graphite powder, assorted raw pigments and binding agents Natasha de Samarkandi presents sections of land mass and sky, approximating reality with manipulated aesthetics. These man-made land masses map the organic patterns of compounds; each study is then manipulated by the artist, reordered and reassembled.  These assemblages become platforms for interpreting the aesthetics and interactions between man made and natural mediums. The play and interaction is recorded by use of high gloss paper which allows these relationships to be captured unadulterated.  

 

 

 

The process of placing pen on paper; a mark on a surface is one of the most fundamental means of communication.  A record distilled by the soul and vision of its maker.  These records form a visual language, shaped and modified by traditional processes and new ideas.  Through mark making we have built a pictorial language that articulates the changing cultural landscapes and replays the antique act of creating.  Our learned techniques, borrowed forms, and varying discourses form a web of created things. 

 

 

 

 

Natasha de Samarkandi’s Flood Tourist series was achieved through labour-intensive mark-making with ball point pen on canvas board. The process and the intention behind the work are inextricably linked. The particular qualities of the biro ink and the action of its application—dynamism combined with impermanence, the boldness of colour and precision of delineation counterpoised by a fragility to light and an inescapable degradation—corresponds to an illustration of the universal qualities of energy, flux, and chaos. Each mark represents a particle, a cell caught in the passage of time. Paralysed by the artist and converted into potential energy, these marks together form a hypothetical ‘still’ of temporality that reverberates across the series.

 

 

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