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Upon looking at Sarah Mifsud’s work, it is very clear that her main interest is the human body. Not just any thing though but her main points of focus lie in the movements it produces. In fact, even upon a quick look at her work it is very noticeable that she does not give any form of importance to colour at all, but rather focuses solely on line and movement. Be it the very obvious movement in athletic activities, or even the subtle movements within the fabric in her project FAT.

Something which I find extremely interesting is the recurrence of multiples. She uses multiples as a way to further portray movement. In a particular work [Untitled, airbrush on wood panel, 180cm], the copied image of the body fills the entire panel creating a sort of pin-wheel illusion. As if emerging from the middle, different body parts along with genitals come out in an outward explosion. In its shape, cold colours and over all composition, this work reminds me of the cathedral rose windows, however instead of depicting saints and angels, depicting only bodies. In my opinion, this becomes even more interesting due to the fact that the body is considered as the most worldly, as in being the farthest from the holy. It transforms the ‘cathedral window’ into almost an ‘unholy’ one, representing the basest of intentions, and glorifying humanity.

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A personal favourite are the digital manipulations series which further explore movement and multiples in the same manner. The works can almost be parts of wallpaper, since they are so delicately composed in linear patterns. The palette chosen is extremely neutral, making them not just personal favourites, but also places further emphasis on form and shape.

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