Artistic Ars Poetica
Emotional Aesthetics – A new emotional dimension that searches for the balance between timeliness and timelessness.
The accelerated change of styles and trends is typical both in art and in fashion. A concept or an idea may take precedence in the work (Concept Art), or conversely we may claim that the art is primarily an aesthetic activity (New Aesthetics), but the cultural background always determines the interpretation of the work. When studying the techniques of construction and composition, interpretation and the relationships defining such them, painting as a solution and reflection of the questions posed by the age and culture must get priority again. The language of art does not need to be adapted to the intense scientific progress which has inspired so many artists both in the past and in the present. The revved and exalted lifestyle further estranges people and uproots relationships. Excessive consumption that is manipulated by the interests of those in power diverts and engages people, and leads to significant environmental pollution, therefore speculating about whether a possible Armageddon will occur within a short or a longer period of time is merely an equivocation and insolence. The excessive amount of information with its small truths and spate deviation is just another tool for economic and ideological manipulation. Emotional aesthetics is a new emotional dimension that aims to search for the balance between timeliness and timelessness, the paradox of accelerated development and defects, the opposites encompassing existence, the all-embracing superficial freedom and deep-rooted insecurity, which have been observed over the last decade.
(Artist and fashion designer) Adele Frank had artistic debuts in London, Paris, Moscow and Budapest. She treats painting and design as equal, not as a remote branch of arts positioned in a strict hierarchy, therefore she often displays her clothing collections in an exhibition combined with her paintings and installations. Her debut was in London, at the Hungarian Embassy in Belgravia. In Paris, besides her collection, she also presented an extravagant oil-textile-inflatable metal-paper-rubber woman sculpture installation called “Modern Venus”. In her paintings female beauty is displayed as a product where the woman is understood as a destination where the product is predestined to be delivered, referring to the new aesthetic revolution and the results of industrialized plastic surgery. The emotional dimensions of the static and turbulent, yet sublime series entitled “Top Model – the Starving Beauty” incorporate a protest against the revved and superficial reality of our time, and on the other hand, they are also understood as mapping the sufferings of the manipulated and voiceless modern woman.
The direction of the approach can be a breakup with the manipulative trends, a journey to the inner self in order to return to the more natural states and tempo by rediscovering integrity and microenvironment. Furthermore, this separation and concealment may lead to a new poise of the individual, on the basis of which emotional harmony may be achieved. Some of her paintings are twin productions bridging the different periods of the artist, to which an article of clothing representing creative arts is also attached as a basis. A 3D crinkled seam application on some of the paintings further enhances this effect. Her collections reflect metropolitan elegance built on the traditions of artistic trends and deep professional knowledge, and her dresses filled with unlimited fantasy reflect the autonomy of the mature female experience of freedom. Her speciality is personal made-to-measure with a designer consultation, which ensures the exclusivity of revalorisation.
The designer was honoured the Victor Vasarely Art Award in 2014.
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