Artist Nicole Casha will be presenting her latest exhibition – Internal Dissonance – from the 30th March till the 15th May at Sistina Wine & Co in Gzira.
Dissonance is a term generally used in relation to music, but this was not the case at the turn of the twentieth century. Music has become a revelation to the artist in the quest towards abstraction. Wassily Kandinsky considered music to be the epitomal form of non-objective art. Music could engage with the viewer, trigger and enhance their emotions, and recall to the conscious mind images through sounds.
Nicole Casha’s approach to Internal Dissonance is set in parallel with these thoughts. This corpus of works sets the exordial crawling stages of an artist who’s embarking on a journey to embrace art in its totality; in a both physical and spiritual dimension. Throughout this internal journey, the artist faces contrasts; a dissonant combination of feelings, sensations, values and beliefs that battle the artist’s psyche in an almost explosive combustion, leading to artistic conception.
Image: Ruins, acrylic on canvas
Pointillist elements feature, exploring mood and atmosphere through light and shade. Daubs of thick paint strike through dark shades emanating a pivotal cyclonic movement. Colour rests on the canvas in its rugged form; freed from any exertion of refinement.
Her application of paint provides a statement of juvenile aggression. Geometry partakes in this quest through the artist’s application of a pseudo-mathematical solution, and symmetry also features in frequent stages of her works. It provides a compositional harmony through the systematic approach where painting and drawing balance each other out.
Dissonant facets are stressed in the exhibition through the various fragmented representations of the human body. She presents the viewer with stylised dissected portrayals of various human limbs implying an enigmatic and suggestive nature.
Image: (left) Aurora, oil on canvas and (right) Against the Grain, acrylic on canvas
Casha’s other side of the coin is her interest in marine life. The blue hues presented offer another form of dissonance, from the subtle satin hues to the doomy obscurity that characterises the sea bed. Tentacles emerge presenting a form of defence mechanism from an outer world that obstructs her internal integrity. Contrastingly, the depiction of marine creatures like oysters and octopi, throughout the ages, have been associated with amorous dimensions and a sense of taste and delicacy. The exhibits narrate a mutually pleasurable complicity between the artist and the work of art itself which in turn is translated to the viewer.