The collection focuses on the actions of deriving and minimizing. Alison Klymchuk’s natural practice roots in intuitive and unmediated expression, resulting in abstraction, abundance and movement. In order to explore the notion of instinctual expression and the possibility of its expansion, the expressionist paintings were intuitively painted first, then, minimal counterparts were created as derivatives of the original pieces. Throughout the completion of this collection, the following questions surfaced:
- What is the purest form of expression? Is it immediate, instinctual, and unfiltered, or refined, minimized, and calculated?
- Does minimizing the innately energetic and textural quality of the work censor expression? Does it clarify the expression by reducing its layers? Is the expression in the original piece lost in translation through its derivative? Or is the expression expanded through a second perspective?
- Is there a possibility that the simple coexistence of the original and derivative piece is more complete than comparing one form of expression to the other?
Expression is personal—it’s intuitive. The artist is a mediant to which the rhythm of life passes through in order to create. That rhythm can be filtered in a positive or negative fashion, one that is natural or even challenging and uncomfortable. It is a duality: a process that can require action or mediation and standby. When an artist allows themselves to explore beyond the boundaries of their common practice, they open the doors to foreign planes of expression and interpretation. Therefore, purity of expression is no longer defined by what feels natural and intuitive, introducing the opportunity of widening the spectrum of their instincts and what is innate. An artist’s intuitive expression is adaptable and can lead them to new and equally pure approaches if they recognize these possibilities.
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