Visual Perceptions is a body of work that I created in June 1995. It was part of a solo exhibition held on September 1995 in the Victoria Cultural Center in Campinas, Sao Paulo, in Brazil. Also a group exhibition held on January 1996 in the UQAM, in Canada, and further a Solo exhibition held on August 1996 in the Bourget Gallery, Montreal, in Canada. 

It consists of a suite of monotypes. All reflecting my personal experience of things from every day life: things that we see, use and perceive. It is not only the visual experience, but also the tactile and sensory perception of these things. 

This work comes from my own experience with things, it is purely intuitive and may have different interpretations, for those who view it. The clues to read my intentions reside in the titles and in the way the images are composed [a series of free physical gestures done with rollers and ink, that are brought together by the superimposition and transparent layers]. The process of construction of the image is a metaphor to represent the experience of perception.

The suites of monotypes are divided in two main sub sections. Most of the smaller ones (14 cm by 8 cm) represent different perceptions about useful things, such as Knife 1, Knife 2, Radar, Scissors, etc. And most of the bigger ones (45 cm by 14 cm) represent aspects of the spatial environment, such as Landscape 1, Trees, Rainbow, etc. If my intentions become less clear in some of the images for the viewer, is because those are part of the intuitive feeling gained through a certain experience such as gazing at people passing by on a rainy day as in Rain, a moonlight as in The half moon way or a passing car as in Speedy, etc.

This work crosses the boundaries between abstract and representational art.
 
 
 

 Background
 

I believe that the artwork is not a copy of the world outside of the artist. It is an object that assumes its form through a creative act. Art is a process of experimentation and not a process of re-construction. We make selections from the real world we perceive and after an intuitive process we put together all these selected experiences into one that becomes the constructed new image. The figurative image lives in our minds and not in nature. In Rothko's words, a tableau is not the image of an experience; it is an experience itself.

Thiswork deals with gesture, expression and intuition I have found certain artists and philosophies that share these principles with my work.

The influence of the physical component of the gesture in Eastern Calligraphy, the duality of the subtle and the strong, the freedom and the control in the composition of the image, the expressionist characteristic of this controlled gesture.

I have found some conceptual correspondence between some artists of the Action Painting group: Pollock, Tobey, Hartung as well as Motherwel. In the sense that once the artist is working inside the work, he/she lets him/herself be directed by a spontaneous intuition.
Gillo Dorfles assessment of action painting art concurs with my work, It is the kind of art that it is related to the speedy of execution and the predominant use of graphic differentiated elements more than vast surfaces of color. In other words the use of abstract signs, without a conceptual meaning or at least not clearly manifested.

One of the closer relations I have found, up until now, is with certain concepts that Mark Tobey has developed. Talking about creation, he said, ...the dimension that counts for the creative person is the space he creates within himself....
 
 

Sandra Szasz