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My artistic practice unfolds through a delicate, sweet-bitterness humor—an emotional register that gently disarms while offering sharp insight. My work draws on the poetics of the everyday, employing minimal gestures and observational precision to create spaces of quiet resilience. In unfamiliar or shifting environments, this humor becomes both a healing force and a strategy of survival, revealing the understated strength of vulnerability and the persistent adaptability of the human spirit.

A practice which relies heavily on travelling, discovering and engaging with new places.

The themes I am addressing in my visual stories are abundant, given the constant nature of my travelling and feeling of displacement, with overall recurrent themes translatable across cultures such as: the experience of migration, queerness, questioning of femininity and masculinity as cultural constructs, recurrent inequality in different geographical locations, mental and physical health, marginal characters, non-patriarchal models and the concept of unconventional beauty.

An overall feeling of a staged theatre play or flamboyant opera is palpable and significant in my work, and this comes both from my adaptive habit of perceiving a new place as a spectacle I am invited to watch (easier to take it in), and from that side in my queerness that feels a connection with a baroque, over-the-top, showy mise en scène. The staging aspect is most visible in the way I render movement, which is dynamic and telling of extrovert emotions. I also use movement in order to turn secondary, dull details into main stage attractions and transform small, everyday gestures into timeless rituals.

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Beschrijving

Alex Bodea’s interest in depicting humans mid-action is expanded into ambitious narrative paintings and drawings defined by impressive painterly techniques, and the figures they insert into an array of queer imaginaries. She utilise mythological imagery and historiography to draw out scenes which belong more in the realm of exterior (as opposed to interior) fantasy. Glam In The Land of Filth depicts grand social scenes, informed by contemporary political realities, filtered through fantastical and aspirational imagination, and leaps in time, into a place where figures seem to have conquered something akin to a scrapyard, but the glee on their faces and the scope of their ambition to build something on top of these scraps seems limitless. They have each other, and so do Bodea’s works, engaging with both am imaginary and real past, present, and future, offering strength and resilience through the hopeful micro-gestures and promises of a soft touch, placing them in mis-en-scènes where they may or may not have ever belonged.

The work is guiding us through a destitute landscape which evidence and expand on our manifold existence. As the world around us strips people of their dignity and damages social connections, our friends and the micro-worlds and mini-tableaus in Glam in The Land of Filth become a testament to the creativity of survival. The work is a hymn dedicated to the alternatives (i.e. ways of living, beauty, etc.), a choir of seemingly endless narrative potential.

(curatorial text by Håkon Lillegraven)

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