badfishstudios art blog: 07/01/2017

I believe that what you discard or cover up in a painting is as important as what remains visible. The impetus behind every mark I make on the canvas is to “transform the mistake". I re-use old canvases, actively damaging and rebuilding the surface to affirm a concept of beauty in which our scars make us complex and whole. I have been refining an experimental technique for removing layers of paint which I call a lift. This unorthodox process reveals ghosts of underlying imagery and has become my own form of storytelling: visually communicating abstract concepts of impermanence and fragility. The process is completely unpredictable. By giving up control, I am forced to stay lighthearted and adaptable to the paintings evolution. There is liberation in non-attachment, and it is this irreverence which has, at its core, a fearless leap of faith.

CLOSE UPS OF PAINTINGS SHOWING THE PROCESS EFFECTS

STAGE ONE

sketched in figures,added tone, added soap for first reveal,washed with water

STAGE TWO

STAGE TWO
(detail) added light blue scumbling,tightening and defining overall design, keeping to a limited palette of warm pinkbrowns

FINAL STAGE in the LIFT PROCESS

BIOGRAPHY

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http://artfinder.com/georgianne-fastaia

Georgianne Fastaia was born in Brooklyn, New York, in 1964. She graduated Magna Cum Laude from S.F.S.U. in 1988. . She is an advocate for the arts,a Visual Aid Grant recipient, contributing writer for The Painters Keys and a guest reviewer at Art business.

An accomplished Painter, she has had many successful exhibitions and her art is in private collections here and abroad. Her work has been featured in Artweek Magazine, The SF Chronicle, and the July 2009 issue of ELLE Décor magazine. She was invited to exhibit her work at the 2010 International Art Fair with Sandra Lee Gallery and in 2011 with Nieto Fine Art. She is represented by The Riverfront Gallery in downtown Petaluma, and Studio 333 in Sausalito.

STATEMENT

"To make art with all the questions answered deprives the viewer of the joy of participating in the act of creation. The choices I make between figuration and abstraction, between what is implied and what is revealed, serve to pull the viewer into the paintings surface and leave them with questions. My work is about transforming the mistake . In my process I re-use old paintings, actively damaging the surface to give each a history, with my goal to reflect more authentic concept of what is considered beautiful."

"My Process