My paintings escape all definitions. They are abstract at first glance, but they do not avoid formal reminiscences or figurative connotations. I have no interest in reproducing a recognizable world. I use evocative imagery. My paintings are somewhere between cellular topography and oneiric worlds, as Roberto Matta ´s “inscapes” concept. I work with the idea of psyche landscapes, the dynamics of neurons in space, and the connection between them. These infinite-dynamic-floating elements have a precise intention: perceptive and emotional impact. I extreme the visual resources to amplify this magnified microscopic universe. I deny the Renaissance perspective (that would draw the viewer to the depths of the vanishing point) to project from the canvas to the viewer. My paintings embody the excess of visual stimulus. Its intense burst of color as a source of energy, complicated interconnected forms as well as optimistic impact generate abundant, lysergic over-informed spaces. They are a metaphor of an elaborate mind multiplied to infinity that has no contradiction, logic, or timeline. I recall the subatomic intensity in the cosmic vastness. Dense, yet volatile atmospheres. I work through the repetition of automatic gestures and shapes until the painting emerges. This sequence generates overlapping nodes.


irina rosenfeldt


Tension in specific areas of the canvas is necessary to achieve visual balance. I work around aesthetic experimentation, considering the excess as a dramatic action. Video works come from paintings that enrich my videos, and so on. The immersive situation enhances the dynamic, extreme, and psychedelic mood. I deconstruct the pictures and re-build them in a whole new dimension according to the world of 3D reality. I engage with the viewer through painting in a powerful yet a bit invasive way through immersive experiences.
Dynamism is a key-word that outcomes from my work as a metaphor of movement which has two sources of interpretation: one, action related in 2D dimension and the other one as a sign of impermanence. The deconstruction of space works as a metaphor of matter in process, that generates a complex world that can not be absorbed immediately.