stellacarr.artlandscape@gmail.com
stellacarr.uk
I paint outside, absorbing and looking, an intimacy develops then I slowly get a feeling of being in a unified whole, I settle in a different reality, deeper, more intense, more inner’ - Stella Carr
Stella Carr’s work explores the infinite interconnections of the natural; her paintings examine how regenerative relationships between species are part of the whole. Fundamentally the works are about coming home to the sensation that we are all nature.
Carr has always painted trees and planted them, hundreds in Liverpool as a teenager, guerrilla planting in the early 1980s in London’s Hoxton and Dalston and designing arboretums for private clients. Carr approaches painting from a horticultural understanding, painting the sensation of habitats and ecosystems, the networks that are essential living systems for healthy land. This form of seeing is layered like a network throughout her work, often emphasised by the use of drawing and scratching into wet paint and glazes while sometimes working into the paint surface with electric tools not normally associated with painting methods.
Choosing to reflect on the unity of our environment and its dynamic symmetry where everything has its place within a regenerating structure, Carr’s practice is preoccupied with capturing the interrelationship between the macro & the micro, the oscillation between the visible and invisible. Her work provides the impression that ecosystems, whether wide landscape or detailed focus, are a personal search of the felt, a response to a vibrational intensity that comes from silent immersion in rich, natural systems.
J'ai grandi à Liverpool parmi les artistes et les scientifiques, fascinée par leur interaction. Ma pratique tente fondamentalement d'associer et d'unifier ces différentes disciplines.
Mes peintures montrent comment tout est relié en se focalisant sur les relations des arbres entre eux et avec la flore et la faune. Je suis fascinée par la répétition des motifs dans le monde naturel, du microcosme au macrocosme. J'essaye d'abstraire la forme de chaque espèce, en gardant le genre reconnaissable tout en mettant l'accent sur les signes, les symboles et les structures perceptibles.
Je défend les micro-bactéries. Elles sont l'élément vital qui permet au monde naturel de fonctionner. Je prends plaisir à ressentir leur réseau invisible, je le tisse abstraitement. Il inclut des motifs de produits chimiques, l'outil de l'agriculture industrielle, qui s'infiltrent dans la vision pastorale : la main humaine sur les richesse de la nature.