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Anastessia Bettas

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20150130194354-anastessiabettas_final_descent__30x40_encausticonwood_2014
Final Descent , 2014 Enccaustic On Wood Panel 30"X40" © Anastessia Bettas
20150130194436-anastessiabettas_evacuation_24x24_encausticonwood_2014
20150130194531-abettas_urbanwinter_encausticonwood_2014
Urban Winter, 2013
20150130194549-anastessiabettas_autumnbirch_encaustic36x36_2015
20150202203550-anastessiabettas_redlights_encausticonwood_2013
20150202203833-abettas_springtime_encausticonwood_2014
20150202204045-anastessia-bettas_midnight-in-the-city_12x24_encausticonwood_2013
20150202204141-anastessiabettas_afternooninthecity_36x24_2013
20150202215832-anastessiabettas_hemingwayinparis_encausticonwood_48x72_2012
Hemingway In Paris, 2012 Encaustic On Wood Panel 48"X72" © Anastessia Bettas
Quick Facts
Works in
Toronto
Statement

Anastessia Bettas is a visual artist based in Toronto, Canada. She has a formal education in art history, marketing and fine arts from McGill University, University of Toronto and Toronto School of Art. Her work can be found in private collections in North America and Europe. Anastessia explores abstraction through the use of encaustic paint which she first learned over ten years’ ago. She developed an admiration for the encaustic paintings of Jasper Johns and Brice Marden and their works had an impact on her in choosing encaustic paint as her preferred medium.

Her influences include urban landscapes, aerial views and cartography. She uses intuitive mark making and grids to transcend the hectic pace of city living and traffic congestion. The grids are also symbolic of a journey charting emotional and imaginary territories.

Anastessia creates her paintings by using incised encaustic techniques together with multiple layers of paint, scraping back and repainting until the desired effect is achieved. It’s a physical process resulting in painterly effects that represent urban erosion, decay and chaotic energy.

Review of Final Descent by Christina Turcotte (turcotte.christina@gmail.com)

The work of Anastessia Bettas questions how everyday persons find ways of making maps of their own, by challenging, even ignoring, official, printed maps that are produced by government urbanists and cartographers. The artist carves zig zags, onto layer after layer of grids, confusing our sense of the usual purpose of map-making—which is to direct persons along particular routes, and to fix persons within certain coordinates. The artist creates an interface between two kinds of mapping: one that exists and one that is brought into existence. Rather than accepting how maps govern the directions of our movement, in horizontal and vertical directions, this work calls upon the interlocutor to ask: “what does my journey look like?”