Sasha Fabris

Games Ubiquitous

Artists

Sasha Fabris

DASART shows

An Introduction to Dasart

Transmigrations - the show

Transmigrations Synopsis

Fokofo

Dasart Archives

Work Title : Games Ubiquitous

My wooden pieces are an integral part of my personal psychotherapy. The reduction process of woodcarving is a kind of physical excavation of a troubled mind. The areas of discontent needn't be accessible to all viewers. It will however relate to those who have experienced similar human phenomena. As emotional turmoil is effective yet intangible, so too is a block of wood in its rough state. I religiously keep my emotion forefront while carving. The monotonous ritual of chipping pieces of wood away from the main block to release my imposed understanding of the hidden images, is my method of formulating strategies for the mend of my festered head. The forms become peepholes on my self-introspection. I then add elements (found and specifically made), to the main forms. This process is a form of self-determined ritualistic fetishism. These relate to sections of my mind where strands of image related emotions precariously place themselves in uncomfortable positions.

The pieces are made to evoke a sense of voyeuristic unease in the viewer. They should challenge sensibility and comfort within and about the human factor, questioning content and the ever-dangerous complacency.

The pieces bear visual and contextual reference to traditionally known "African" sculpture. To me this is a form of art simultaneously representational and anti naturalistic - beating directed power through the mouths of primal force. I do not belong to the paradigm of imitation grounded in the paternal search for the mystique in the "other". I find myself to be content with what I know, and what I don't know beyond my parameters. I share the personal relation to pain through the medium I understand and belong to.

Sasha Fabris
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