Artist Q & A: Vicky Christou
In anticipation of her new solo exhibition Soft Gravity, Vancouver based abstract artist Vicky Christou discusses the origins of her integration of craft and artistry, the influence of the tumbling weightlessness of wind, and her approach to abstracting this invisible phenomenon. Soft Gravity opens at Bau-Xi's Upper Gallery on November 16 and runs through November 30, 2024.
Vicky Christou, Slow Turning. Acrylic on panel, 30 x 30 inches.
1.Your statement emphasizes the exploration of paint materiality. Can you elaborate on how this exploration informs the narratives you weave into your work?
I think it's the duality of my practice where the narratives I am exploring become shaped by the materiality of the paint. I’m interested in ritualistic, repetitive methods, much like you would see in traditional textiles, such as with a multitude of stitches or the weaving of threads. The sculptural quality of the paint embodies a thread. My process of abstraction is where non-representational work becomes imbued with nuances inspired by nature’s colours, especially gradient light. These qualities become metaphoric symbols that I engage with in a meditative, intuitive process while making the work. This entire process is the narrative and dualistic content of my paintings.
2.How do gendered histories manifest in your work? Are there particular figures or events that resonate with you and inspire your artistic practice?
When I speak of gendered histories, which in itself is a vast topic of validation, recognition, power and exclusivity, I can only approach it from the perspective of my own experience. I grew up in a household of women, most of whom knitted, crocheted, wove and sewed. My mother made beautiful blankets which I saw as her artistic practice - not only a craft, but a fine art. So, this dialogue and theme between craft and art was always in my thoughts and began to evolve into my paintings. Artists such as Anni Albers, Josef Albers, Mondrian, Agnes Martin and Yayoi Kusama have been sources of inspiration.
Vicky Christou, Thicket. Acrylic on panel, 24 x 24 inches.
3.How does the concept of buoyancy, or “Soft Gravity”, translate visually in your paintings, and what feelings do you hope to evoke in the viewer?
The concept of buoyancy, or soft gravity, is represented by the sail-like forms floated in the foreground of some of the new paintings. They can also be seen as torn paper fragments or pieces of a coloured object. The gradient colour waves signify a rising movement as well. I wanted to capture a quality of weightlessness floating in the aether, the feeling of freedom and a new expansiveness.
4.The imagery of fog lifting and pollen being swept by the wind is very evocative. How did you translate these sensations into your artwork, both in terms of technique and emotion?
Although I use a subtle palette, I hope to invoke the emotive qualities I experience while in nature. Images of fog lifting or floating pollen become abstracted into my chosen colours and methodical lines of the painting. So, these certain palettes and the movement of gradient changes to reference natural elements. My technique is one of patience and steadfast physical application methods, which I hope translates sensations of peaceful tranquility and uplifting meditative qualities.
Vicky Christou, Floating. Acrylic on panel, 24 x 24 inches.
5.You mention a shift from a traditional grid structure to more organic forms. What prompted this evolution, and how does it change the way you approach composition in your paintings?
In this new body of work there has been a shift of how I am using the grid. It is still a container or “the bones” of my paintings during the initial stages. With some of this work I have just let go of this usual sense of order and let the grid become more open: instead of left to right and up and down, I broke the lines in groups of sixes and went around in a rotating circular manner. I wanted the feeling of whirling and being swept up and away. I think this process just evolved naturally, inspired by my observations while walking and enjoying the natural phenomenon around me.
6.You reference both craft and abstraction in your work. How do you balance these elements, and how do they each bring to your artistic expression?
The balance between craft and abstraction found in my work is more an integrated synthesis of both processes. A quote that comes to mind, “the form is the function” by Louis Sullivan, characterizes this synthesis. My method of working using piped lines of impasto paint resembles the thread used in handiwork, which is then layered to form a square. In some of my new work I do use a rectangular format, which I’m excited to explore further because of the different allowances and reference to landscape.
Vicky Christou, Voyager. Acrylic on panel, 36 x 72 inches.
7.Can you discuss a memorable moment from your artistic process for this exhibition that encapsulated your journey with “Soft Gravity”?
I do have a memorable moment which encapsulates my journey with this exhibition, although it did occur outside the studio. I was sitting by the edge of the park - it was a very windy day, and a strong gust had gathered up the leaves into what seemed to be a wave of leaves rolling towards me. I was just immersed in watching this as it approached me, when I noticed that a small bird had been swept up with the leaves and suddenly flew out of the tumbling pile. It just struck a chord with me as a symbol of perseverance in any circumstance, and maybe even as a sense of trust in the invisible, elemental forces that seem to animate and govern our world.
The artist.
1.Your statement emphasizes the exploration of paint materiality. Can you elaborate on how this exploration informs the narratives you weave into your work?
I think it's the duality of my practice where the narratives I am exploring become shaped by the materiality of the paint. I’m interested in ritualistic, repetitive methods, much like you would see in traditional textiles, such as with a multitude of stitches or the weaving of threads. The sculptural quality of the paint embodies a thread. My process of abstraction is where non-representational work becomes imbued with nuances inspired by nature’s colours, especially gradient light. These qualities become metaphoric symbols that I engage with in a meditative, intuitive process while making the work. This entire process is the narrative and dualistic content of my paintings.
2.How do gendered histories manifest in your work? Are there particular figures or events that resonate with you and inspire your artistic practice?
When I speak of gendered histories, which in itself is a vast topic of validation, recognition, power and exclusivity, I can only approach it from the perspective of my own experience. I grew up in a household of women, most of whom knitted, crocheted, wove and sewed. My mother made beautiful blankets which I saw as her artistic practice - not only a craft, but a fine art. So, this dialogue and theme between craft and art was always in my thoughts and began to evolve into my paintings. Artists such as Anni Albers, Josef Albers, Mondrian, Agnes Martin and Yayoi Kusama have been sources of inspiration.
3.How does the concept of buoyancy, or “Soft Gravity”, translate visually in your paintings, and what feelings do you hope to evoke in the viewer?
The concept of buoyancy, or soft gravity, is represented by the sail-like forms floated in the foreground of some of the new paintings. They can also be seen as torn paper fragments or pieces of a coloured object. The gradient colour waves signify a rising movement as well. I wanted to capture a quality of weightlessness floating in the aether, the feeling of freedom and a new expansiveness.
4.The imagery of fog lifting and pollen being swept by the wind is very evocative. How did you translate these sensations into your artwork, both in terms of technique and emotion?
Although I use a subtle palette, I hope to invoke the emotive qualities I experience while in nature. Images of fog lifting or floating pollen become abstracted into my chosen colours and methodical lines of the painting. So, these certain palettes and the movement of gradient changes to reference natural elements. My technique is one of patience and steadfast physical application methods, which I hope translates sensations of peaceful tranquility and uplifting meditative qualities.
5.You mention a shift from a traditional grid structure to more organic forms. What prompted this evolution, and how does it change the way you approach composition in your paintings?
In this new body of work there has been a shift of how I am using the grid. It is still a container or “the bones” of my paintings during the initial stages. With some of this work I have just let go of this usual sense of order and let the grid become more open: instead of left to right and up and down, I broke the lines in groups of sixes and went around in a rotating circular manner. I wanted the feeling of whirling and being swept up and away. I think this process just evolved naturally, inspired by my observations while walking and enjoying the natural phenomenon around me.
6.You reference both craft and abstraction in your work. How do you balance these elements, and how do they each bring to your artistic expression?
The balance between craft and abstraction found in my work is more an integrated synthesis of both processes. A quote that comes to mind, “the form is the function” by Louis Sullivan, characterizes this synthesis. My method of working using piped lines of impasto paint resembles the thread used in handiwork, which is then layered to form a square. In some of my new work I do use a rectangular format, which I’m excited to explore further because of the different allowances and reference to landscape.
7.Can you discuss a memorable moment from your artistic process for this exhibition that encapsulated your journey with “Soft Gravity”?
I do have a memorable moment which encapsulates my journey with this exhibition, although it did occur outside the studio. I was sitting by the edge of the park - it was a very windy day, and a strong gust had gathered up the leaves into what seemed to be a wave of leaves rolling towards me. I was just immersed in watching this as it approached me, when I noticed that a small bird had been swept up with the leaves and suddenly flew out of the tumbling pile. It just struck a chord with me as a symbol of perseverance in any circumstance, and maybe even as a sense of trust in the invisible, elemental forces that seem to animate and govern our world.