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Fluence, by Xanda McCaqq

Published statements by Xanda

While my work is abstract, the strength of my paintings comes from my training in the classical figurative tradition. I use classical principals, both literally and metaphorically, as a source vocabulary from which I develop my compositions.

I blend and contrast vibrant colors, articulating space and slowly developing form by layering color intertwined with line drawings. I am deeply interested in how a mark or color creates a shift that affects the entire composition. I search for a balance in my work that evokes a whole world of connection. ...expressing issues of human interdependence and dichotomies of the human condition. These issues are apparent in my own abstract work as I explore these relationships with objects, line, and color.

More specifically I am beginning to experiment with the addition of small pieces of collage to a canvas; accenting a central canvas with smaller canvases; and layering lines and shapes to develop the ‘accidental form.’

My Feelings

Compelling at once. Even for people from the street, when it was hung rue Charlot, in the rear end of the Gallery.

A litlle too large for my studio-room, but less aggressive than I feared. Helps to keep my mind active. Pushing the red line in my head, and fighting to spit out the emerging text on paper or keyboard.

Stronger than most of the paintings in the room, most of which are more figurative (the large romantic Swiss landscape, my watercolor of Gonneville-sur-Mer, the Luxembourg palace by my grand-father Marcel Berger. More "modern", the acrylic-photo-collage by Béatrice Gingembre.

Two works can compete for strenght : Landing, rather abstract, the first beautiful (for my taste) work of my Roxame sofware, and Robot, by Thomas Bijon (elaborate Photoshop semi-figurative world).

But Xanda wins, of course.

Elements

A head. Strong, dark at bottom, going to purple, dark blue then lighter blue and finally white and yellow on top.
Several broken lines :
- the major one, red, starting from the cerebellum and, after hesitation, pointing by two sraight lines to the frontal brain
- the second one, one the mouth ; not succeeding to get out of it
. one on top of head, hidden under a white wash, just below the yellow band (small and curve lines)
. one from there towards the eye, white under blue wash, even drawing a sort internal eyqqe, or radar aerial

The yellow point between brain and mouth. Typical of Xanda saying "a mark or color creates a shift". Reminds me Vermeer by Proust : http://www.essentialvermeer.com/proust/proust.html.

Collage

I like the idea of collage, which allows to enter more "substance", graphically and materially, on the canvas. May be hazardous (will the glue stand the years, the various parts have the same color evolution on the long term, or, more critically, distracting the artist from a well focussed psychological/emotional search.
There are elements about collage in diccan : diccan. Joined : a collage in an acrylinc paint by Béatrice Gingembre (not a good photo).