dessin contemporain, desenho contemporaneo, contemporary drawing

Elementor #4489

Transit zones, waiting areas

Plumba Contemporary Art, Porto, Portugal  curated by Nuno Perreira

23rd September – 26th November 2006

dessin contemporain, desenho contemporaneo, contemporary drawing
Maess, Transit Zones, pencil on paper, 35 x 25 cm, 2006
zeitgenössische Zeichnung, dessin contemporain, maess anand, transit zones
Partida, pencil on paper, 25 x 15 cm, 2006

These are registration drawings which intend to represent the elusive moment when we see without being seen. It is an instant before being exposed as observers.  An airport is a place where one feels like a stranger, as if the place were a metaphor for the Flight of Icarus, where the big adventures begin. It is a point of arrival and departure, where the most intimate emotions are thrown onto a non-place without identity, in another reality. The language system of airports can be interpreted in a deeper way. Descrip­tions such as “choose your destination”, “departures”, “waiting areas” and “terminals” indicate a zone of transgression between safety and danger, freedom and dependence, the known  and the unknown, the familiar and the strange. 

dessin contemporain, dibujo contemporaneo, airport art, zeitgenossische zeichnung, desenho contemporaneo, dibujo contemporaneo
Waiting areas, pencil on paper, 35 x 25 cm, 2006
contemporary drawing, dessin contemporain, desenho contemporaneo, dibujo contemporaneo
Waiting areas 3, pencil on paper, 35 x 25 cm, 2006

During the ritual of arriving and departing, crossing the gates we leave our previous life behind and give it to the airport services, into the hands of destiny. There is a point of no return, where “see you soon” no longer exists and instead one says “goodbye”. Life in a new place begins. Life, with all the luggage from previous travels, is a set of waits and passages, where we anxiously await the next stage. Being in transit becomes a daily sensation. Maybe all places are places of waiting and of passage. What comes next, what are we going to see, who is going to see us, how will they see us? Maybe everything is only a long voyage made of short pauses between the long waits.

Review by Ann Zawadzka “Maess’ travel sketchbooks” (in Polish) Artmix, Obieg

dessin contemporain, dibujo contemporaneo, airport art, zeitgenossische zeichnung, desenho contemporaneo, dibujo contemporaneo,art and airports
Transit Zones, pencil on paper, 35 x 25 cm, 2006
Maess anand, dessin contemporain,zeitgenossische zeichnung, desenho contemporaneo, airport art, art a l'aeroport, cdg
Flights, pencil on paper, 35 x 25 cm, 2006
dessin contemporain, dibujo contemporaneo, airport art, zeitgenossische zeichnung, desenho contemporaneo, dibujo contemporaneo
Arrivals, pencil on paper, 35 x 25 cm, 2006
desenho contemporaneo porto, arte no aeroporto, dessin contemporain, art at the aiport
Departures, pencil on paper, 42 x 29 cm, 2006
Maess anand, dessin contemporain,zeitgenossische zeichnung, desenho contemporaneo, airport art, art a l'aeroport, cdg
Flight, pencil on paper, 35 x 25 cm, 2006
desenho contemporaneo,dessin contemporain, porto
Departures, pencil on paper, 35 x 25 cm, 2006
dessin contemporain, desenho contemporaneo dibujo contemporaneo sodobna risba,art at an airport, airport drawings, emigration in art
Baggage claim, pencil on paper, 42 x 29 cm, 2006
Maess anand, travel in art,dessin contemporain,zeitgenossische zeichnung, desenho contemporaneo, airport art,
Jetlag, pencil on paper, 35 x 25 cm, 2006
dessin contemporain, airport art, zeitgenossische zeichnung, desenho contemporaneo,dibujo contemporaneo
Transit Zones, pencil on paper, 35 x 25 cm, 2006
dessin contemporain, dibujo contemporaneo, airport art, zeitgenossische zeichnung, desenho contemporaneo, dibujo contemporaneo
Transit Zones, pencil on paper,35 x 25 cm, 2006
dessin contemporain, dibujo contemporaneo, airport art, zeitgenossische zeichnung, desenho contemporaneo, dibujo contemporaneo
Jetlag, pencil on paper, 35 x 25 cm, 2006
Maess anand, dessin contemporain,zeitgenossische zeichnung, desenho contemporaneo, airport art, art a l'aeroport, cdg
Waiting, pencil on paper, 35 x 25 cm, 2006
dessin contemporain, desenho contemporaneo dibujo contemporaneo sodobna risba,art at an airport, airport drawings, emigration in art
Aeroporto, Porto, pencil on paper, 35 x 25 cm, 2006

Abnormal results

Abnormal Results​

Contemporary drawing

 I am interested in the experience of negotiating the physical and emotional balance between sickness and health. My drawings examine organisms attacked by cancer. Using scientific material that involves cancer related databases, microscopic views, histopathology images, Kaplan-Meier curves, 2D and 3D modeling,I combined these visual facts about cancer into expressive images in order to create something meaningful and emotionally insightful.

art and medicine, contemporary drawing artist, maess anand, zeitgenössische Zeichnung,dessin contemporain, art and medicine, art and cancer, illness in art
Maess Anand, Metastasis II, 180 x 150 cm, marker and pen on paper, 2014
contemporary drawing, sodobna risba,razstava sodobne risbe,dessin contemporain, desenho contemporaneo,dibujo contemporaneo, rysunek wspolczesny
Invasive ductal carcinoma study 2, 100 x 70 cm, marker and pen on paper, 2018
zeitgenössische zeichnung, contemporary drawing, art and illness, dessin contemporain, desenho contemporaneo,dibujo contemporaneo, rysunek wspolczesny
Invasive ductal carcinoma, 100 x 70 cm, marker and pen on paper, 2018
zeitgenössische Zeichnung, dessin contemporain, maess anand,
Metastasis V, 165 x 150, pen and marker on paper, 2015

The notion of  “time arrow” is traditional to philosophy and art. However, it is closely connected with our life span expectation. Classical literature, such as “Magic Mountain” of Thomas Mann stress that time perception is very different for healthy and gravely ill persons. In the case of cancer patients it is further complicated by an “obscure” terminologies of oncology: stages, life expectation, therapy outcome, metastasis, remission etc. It is my goal to facilitate the comprehension of this realities by my art. 

art and medicine,contemporary drawing,dessin contemporain; art and medicine, art and cancer,desenho contemporaneo; dibujo contemporaneo; rysunek wspolczesny, maess anand
Histopathology, 3 x 42 x 29 cm, pen on paper, 2015
art and medicine, zeitgenössische Zeichnung, contemporary drawing
Radiation marks, histopathology report 2, pen an marker on paper, 70 x 100 cm, 2017
art and medicine, contemporary drawing artist, maess anand, zeitgenössische Zeichnung,dessin contemporain, art and medicine, art and cancer, illness in art
Maess Anand, Metastasis II, 180 x 150 cm, marker and pen on paper, 2014

 Some of reactions of audience, but also my personal experience before I was given a free of cancer verdict, suggest that people in face of cancer may try to live more intense life, as it was formulated by a famous cardiologist Marek Edelman that one “To outwit God”. I first focused on studying cancer as an art subject in 2013.  The drawings also elicited responses from many individuals about their experience with cancer. These stories, based on direct experience or those of loved ones, centered on the anxiety of waiting for results, facing the possibility of metastasis and the dawning awareness of how much time might be left to the patient and their families. I believe this anxiety, as well as the accompanying search for hope and strength, are universal human experiences and that art may help to alleviate.

 
 
sodobna risba, művészeti kiállítás,kortárs rajz, Lengyel Intézet Platán Galéria, rysunek współczesny
Exhibition view, Platán Galéria, Budapest, 2015
cancer in art, contemporary drawing artist maess anand, dessin contemporain, art and cancer, illness in art,dibujo contemporaneo, művészeti kiállítás, kortárs rajz,Platán Galéria, Instytut Polski w Budapeszcie, Lengyel Intézet
Art and cancer; Abnormal results, exhibition view. Platan Gallery, Budapest
contemporary drawing, contemporary drawing exhibition, dessin contemporain exposition, maess anand, desenho contemporaneo, dibujo contemporaneo, rysunek wspolczesny, art and medicine, cancer, zeitgenössische Zeichnung
Abnormal results, exhibition view, Platan Gallery, Budapest

   Further reading:

The Drawers, Warsaw

The Drawers, Warsaw

The Drawers 3.09- 17.09 2015, Kasia Michalski Gallery, Poznanska 16 Warsaw

contemporary drawing artist maess anand,kasia michalski gallery, Kasia Barbotin-Larrieu, dessin contemporain, artiste

Contemporary drawing artist Maess Anand at Kasia Michalski Gallery, Warsaw photo: Helena Majewska

 

The Kasia Michalski Gallery is presenting the first of a series of group exhibitions featuring works by nine Polish artists, illustrators and designers. The selected drawings, prints, collages and other experimental formats were created as unique pieces or limited editions and will be available exclusively at the gallery. The title of the presentation, THE DRAWERS, refers both to the place as well as to the subjects of the show. The majority of works were made on paper, although drawing is not the only medium the artists use. The works showcased at the exhibition aptly represent the artists’ individual styles and their various interests and activities. Artists : Rafał Dominik, Ewa Doroszenko, Michał Gayer, Ewa Iwaniuk, Maria Jeglińska, Piotr Krzymowski, Magdalena Estera Łapińska, Maess, Szymon Szewczyk

Archived interview, Blagers.pl   

Other drawings from Abnormal results’ cycle

The Drawers

The Drawing Center, New York

The Intuitionists, Drawing Center, New York

11.07.2014-24.08.2014 

dessin contemporain, dibujo contemporaneo, contemporary drawing

Maess, The perfect elevator waits, 152 x 120 cm, marker and pen on paper, 2014

curated by Heather Hart, Steffani Jemison, and Jina Valentine.

The Intuitionists  is a collaborative artist project inspired by Colson Whitehead’s 1999 novel of the same name—a work of speculative fiction that explores the relationships between progress, technology, and difference. The exhibition considers how the collection, the database, and the aggregate serve as complementary models for the organization of information and objects in flux.

artists: Shaun Acton, Valerio Berruti, A.J. Bocchino, Dana Boussard, Hannah Burr, Maria Bussman, Enrique Chagoya, Joyce Chan, Catalina Chervin, Hannah Cole, Kenny Cole, Vincent Colvin, Hollis Cooper, Cui Fei, Gabriel Delgado, Wendy DesChene, Asya Dodina and Slava Polishchuk, Debra Drexler, Derek Dunlop, Elisabeth Eberle, Lisa Endriss, Rodney Ewing, Tory Fair, Douglas Florian, Nicholas Fraser, Carl Fudge, Brett Goodroad, Barry Gray, Stephen Grossman, Nathan Haenlein, Patrick Earl Hammie, Skowmon Hastanan, HENSE, Elizabeth Hoak-Doering, Cynthia Ona Innis, Tatiana Istomina, Hedwige Jacobs, Chiaki Kamikawa, Manfred Kirschner, Kimia Kline, Nicholas Knight, Kang Joo Lee, Kate Tessa Lee, Cynthia Lin, Hung Liu, Maess, Mario Marzan, Linn Meyers, Nyeema Morgan, Paul Morrison, Seamus Liam O’Brien, Alison Owen, Jenny Perlin, Mel Prest, Jo Ann Rothschild, Anna Schachte, Fausto Sevila, Jill Shoffiet, Thomas Slaughter, Chris Spinelli, Karen Tam, Caroline Tavelli-Abar, Scott Teplin, Jen Urso, Kris Van Dessel, Kara Walker, and Margaret Withers

 

Supported by Adam Mickiewicz Institute

 

Foire du Dessin

Maess nominated to Grand Prix of FID Prize / Foire Internationale du Dessin

maess, dessin contemporain, fid prize,dibujo contemporaneo
Maess, United Networks, 100 x 70 cm, pen on paper, 2012

Since 2007, FID has been discovering young artists working in the medium of drawing and helping to launch their career, nationally and internationally.FID international drawing fair (onlineFID.com) is aimed at art schools, young artists, advanced students and recent graduates all over the world.

Our mission is to show drawing as it is being made today: drawings for the future.

Jury: Jan-Philipp Fruehsorge, galerie Fruehsorge, Berlin
Réjean Dorval, galerie Twilight Zone, Tournai
Éléonore Chatin, galerie Catherine Putman, Paris
Victor Mendes, galerie LWS, Paris
Andrew Hewish, Center for Recent Drawing, London
Teresa Carneiro, Drawing Spaces, Lisboa
Maurits van de Laar, Galerie Maurits van de Laar, De Haag
Radu Solovastru, Université d’art et design, Cluj-Napoca
Alan Bamberger, artbusiness.com, San Francisco

Laureats:

Andreea Ciobica, Keita Mori, Juliette Mogenet

nomines:

Steaven David, Nathalie Duivenvoorden, Marlene Huissoud, Maess , Clémentine Poquet

 

contemporary drawing, dessin contemporain, desenho contemporaneo, dibujo contemporaneo, maess anand, pencil drawing

Inverted

Residencia Corazón, La Plata Buenos Aires,  Argentina

25th September – 16th November 2008

contemporary drawing, dessin contemporain, desenho contemporaneo, dibujo contemporaneo, maess anand, pencil drawing
Maess, Inverted 4, pencil on paper, 42 x 29 cm, 2008

The “Inverted” exposition is a result of the artist’ s residential stay in Argentina and it consists of collection of drawings based on a unique topography of the city of La Plata, Maess Anand treats the ideal city design with multiple transformations, violating exist­ing realities. An exploration of space between the starting point and the final result invites the viewer to embark on his/her own intellectual adventure of perception beyond the habitual lim­its. The artist’ s key aim is not to reach a predetermined goal, but to observe the moments and places where imperfections and errors in the inversion process occur. Inversion can refer to a particular case of abstract thinking and can also be consid­ered a result of instinctive human penchant for putting con­trasting objects of concepts together. This kind of definition does not however allow to multiply all possible situations or circumstances and to adjust them to such thinking. Commonly used intuitive processes of inversion cannot always be reduced to a common denominator, since, for instance, contradiction such as good/evil is of different nature than day/night. Simple act of reverting inversion also does not lead to a zero sum situa­tion, but creates a web of transformations with varying interre­lations. Such manipulations can be best observed in visual arts – the most effective way of reaching a semantic or formal effect of surprise is to seek out the stubborn constant that hides in earlier solutions and invert it by 180 degrees.

 

Dibujo contemporaneo, Maess Anand, Inverted
Inverted, 42 x 28 cm, pencil on paper, 2008
dessin contemporain, dibujo contemporaneo, maess anand, zeitgenossische zeichnung, desenho contemporaneo, dibujo contemporaneo
Inverted, 28x 42 cm, pencil on paper, 2008
dibujo contemporaneo, pencil on paper
Inverted, 28 x 42 cm, pencil on paper, 2008
dibujo contemporaneo, dessin contemporain, maess
Inverted, 42 x 28, pencil on paper, 2008
Dibujo contemporaneo, Maess Anand, Inverted
Inverted, 42 x 28 cm, pencil on paper, 2008

Excessive

Able Gallery, Berlin, Germany, 2009, Foundation for promoting Contemporary Art / Gallery program, Warsaw, Poland 2011, Wroclaw Contemporary Museum 2013

contemporary drawing, excessive, dessin contemporain, desenho contemporaneo, dibujo contemporaneo, rysunek wspolczesny, violence conjugal dans l?art,domestic violence, przemoc w sztuce, metoo in art, balance ton porc dans l?art, maess
Excessive, 29 x 43 cm, pen on paper, 2009

Every square inch of these drawings captures pure violence. Dance macabre of red and black. It is a clash of two forces conflicting in every aspect. Pinturas negras demonstrate the ” fear of influence” , through violence closing like a circle of sterile, mechanical, fetishistic repetition. Feverish scarlet, the explosion of creative energy, both euphoric and forewarning is, on the other hand, harder to grasp. The red part, it is a cut ,a tiny change, perhaps purely to spite repetition, academic structures and patriarchal subjection. It could be, however to illustrate the moment when the limit of endurance is reached and no other manoeuvre is possible. This particular move allows to search for new life forms. A mischievous error interpreted as the explosion of re-creation, in the Agambenic sense of the word. Nobody waits for revolution or epiphany anymore; what they do wait for is an unexpected break that will reduce the unbearable, oppressive dialogue to silence.

contemporary drawing, excessive, dessin contemporain, desenho contemporaneo, dibujo contemporaneo, rysunek wspolczesny, violence conjugal dans l?art,domestic violence, przemoc w sztuce, metoo in art, balance ton porc dans l art, maess
Excessive, 29x 43 cm, pen on paper, 2009
contemporary drawing, excessive, dessin contemporain, desenho contemporaneo, dibujo contemporaneo, rysunek wspolczesny, violence conjugal dans l?art,domestic violence, przemoc w sztuce, metoo in art, balance ton porc dans l?art, maess
Excessive, 29x 21 cm, pen on paper, 2009

 Decompression that disturbs the cycle of violence and system of terror. What is the fundamental stake in this game” Artistic immortality” It is not true what Beckett says, that ” to be an artist is to fail as no other fail.” Of course, all that strategy is not free from narcissism, and Maess knows how to use it in her own way. It brings to mind ivy, or a spider’ s web; content-wise, the drawings are very dense, concentric, coherent and strong. They absorb everything around them. They feed on any metaphors that brush against them. They are like a sequence of battle plans, sectional views of shapes created by a dynamic shift in pressure. The created work is the result of a perpetual power friction, a breach of the domination. An ever-changing front line of a battle.Gentileschi also searched for the bloody floating shape in the streams of the vital fluid gushing from the neck of her victim-executioner.

contemporary drawing, excessive, dessin contemporain, desenho contemporaneo, dibujo contemporaneo, rysunek wspolczesny, violence conjugal dans l?art,domestic violence, przemoc w sztuce, metoo in art, balance ton porc dans l?art, maess
Excessive, 29x 21 cm, pencil on paper, 2009
contemporary drawing, excessive, dessin contemporain, desenho contemporaneo, dibujo contemporaneo, rysunek wspolczesny, violence conjugal dans l?art,domestic violence, przemoc w sztuce, metoo in art, balance ton porc dans l?art, maess
Excessive, 29x 21 cm, pen on paper, 2009

It is not easy to grasp, because fragments of it are deliberately used as part of a broader narrative, of affinity and rivalry. This way the feverish scarlet of the drawings is justified also by the blood of the dead lover/phantasm.The figure which, cringing like a prawn on a fork, is present in some of the drawings has its origins also in a rather modern myth. It is taken from the final sequence of The Last Tango in Paris by Bertolucci. Iti s one of the inspirations, references, but also precursors of the series. The relation between the work of Bertolucci and Maess drawings is somewhat troublesome. Shooting the lover/abuser in his desperate try to escape leaves a scarlet spatter of blood and letter fragments. That convulsively twitching larva/beast obsessively repeats ” I Want You, I want you, I want you. J’ai très envie de toi. JTEDT “. Not even the remains of a language but of a typography.

Utterances, like a seal on the lips of the obscene desire. It is worth remembering that Bertolucci ‘ s film, apart from the story of a man and a woman, tells the story of tyranny of the film itself, and the topics mirror each other. The strategy of analyzing the line between film and drawing without the medium of animation or comic strip craze, seems to be a source of great pleasure for Maess, as she has been successfully using it for a long time now. It is also just one of the riddles/traps set by the artist. Just like the slightly provocative technical virtuosity and Maess-specific asceticism. As a result, her drawings surprise with their force and intensity. The surface is covered with the explosion of red, pulsating energy set free, eliminating any obstacles between the idea and the artist, between the idea and the receiver. Looking at those explosions I can’ t get this statement by Paul Valéry. out of my mind: “First of all, and above all, the painter takes his body with him “. 

txt: Michał Fopp  trad. Karolina Moens

contemporary drawing, dessin contemporain, desenho contemporaneo, dibujo contemporaneo, rysunek wspolczesny, violence conjugal dans l?art,domestic violence, przemoc w sztuce, metoo in art, balance ton porc dans l?art, maess
Excessive, 29 x 21 cm, pen on paper, 2009
contemporary drawing, excessive, dessin contemporain, desenho contemporaneo, dibujo contemporaneo, rysunek wspolczesny, violence conjugal dans l?art,domestic violence, przemoc w sztuce, metoo in art, balance ton porc dans l?art, maess
Excessive, 29x 21 cm, pen on paper, 2009
contemporary drawing, excessive, dessin contemporain, desenho contemporaneo, dibujo contemporaneo, rysunek wspolczesny, violence conjugal dans l?art,domestic violence, przemoc w sztuce, metoo in art, balance ton porc dans l?art, maess
Excessive, 29x 21 cm, pen on paper, 2009
contemporary drawing, excessive, dessin contemporain, desenho contemporaneo, dibujo contemporaneo, rysunek wspolczesny, violence conjugal dans l' art,domestic violence, przemoc w sztuce, metoo in art, balance ton porc dans l art,
Artemisia, sketchbook, pen on paper,2009
violences-conjugales-dans-lart-contemporain,contemporary drawing, excessive, dessin contemporain, desenho contemporaneo, dibujo contemporaneo, rysunek wspolczesny, violence conjugal dans l?art,domestic violence, przemoc w sztuce, metoo in art, balance ton porc dans l?art, maess
Sketchbook, Lisbon 2009
Aux Genoux, sketchbook, 2009