Bigindicator

Amanda Joy Calobrisi

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Female Bonding , 2014 Gouache And Flashe On Canvas 16 X 12 Inches
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© photograph: Armando Lozano
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Vulva Numinous (Sacra Vulva) (Anasyrma 1), 2014 Oil On Canvas 63 X 54 Inches
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Fascinum and Invidia (Anasyrma 2) , 2014 Oil On Canvas 54 X 48.5 Inches
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Introspection (Our View From Above), 2014 Oil On Canvas Canvas51 X 46 Inches © amandajoycalobrisi
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Sofia Uncloaked, 2014 Oil On Canvas 36 X 48 Inches
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Sofia in Furs (Sofia Cloaked), 2014 Oil On Canvas 36 X 48 Inches
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Unfolding, 2013 Oil And Flashe On Canvas 38 X 32
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Swimmer Smoker, 2014 Graphite, Gouache And Flashe On Canvas 15 X16 Inches
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Unexpecting Mamas Series, 2015 Clay, Flashe Paint And Cat Whiskers Various
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Unexpected Mamas, 2015 Clay, Flashe Paint And Cat Whiskers Various
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Unexpecting Mamas, 2015 Clay, Flashe Paint And Cat Whiskers Various
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Unexpecting Mamas, 2015 Clay, Flashe Paint And Cat Whiskers Various
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Mommy Dreams of Horses, 2014 Oil On Canvas 57 X 46 Inches
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Saint Lucy (your eyes not mine), 2014 Oil On Canvas 42 X 80 Inches
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Quick Facts
Birthplace
New York, USA
Birth year
1978
Lives in
Chicago, IL
Works in
Chicago, IL
Schools
The University of Massachusetts Boston, 2004, BA
School of the Museum of Fine Arts | SMFA
The School of the Art Institute of Chicago
Statement

My painted forms reveal themselves through heightened color, loose pattern and uncouth texture. Figures, patterns and voids push and pull at each other creating psychologically charged spaces. The photographs that I take in preparation for the paintings are like composing a mirage, a vision that I use as a point of departure into paint. I have no interest in replicating the photo. I let everything mutate on the canvas allowing my imagination to interject. I shift colors and their temperatures and discover rhythms to translate patterned passages. Organic shapes and tangled marks executed with a loaded brush allow the figures to exist in a field of constant motion despite painting’s persistent stillness.  
Recently I have been looking to ancient art to find powerful depictions of women. The ancient Greek anasyrma pose is the lifting of skirts and exposing of genitals. It is a form of exhibitionism but not for the purpose of sexual arousal- instead it is used as an apotropaic device, a gesture of power, healing and fructifying in both the physical and supernatural worlds. I have borrowed the pose as to rethink it in a contemporary context and emphasize the numinous qualities of the vulva and penis rather than as erotic or signifiers of gender. The figures in my paintings are often both feminine and masculine simultaneously (as we all are). I find it necessary to paint these two qualities co-existing in a state of mutuality; overlapping, intersecting and dependent on one another.

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