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In my work, I care about the **narrative of an emotion** or idea as opposed to portraying it in an illustrative sense, and I'm often trying to explore the duality of opposing ideas within this abstract landscape.

  
* good
* great
* cool

  
I do not have a sequential narrative in my paintings, because I do not believe expression within painting is just a tale to be told, I believe it is _something m_ore complex and yet harder to define.

This is my artwork

test limit

I shot Kesse Ane Assande Elvis Presley, or simply coined as "Britney Spears" by her friends, along with Mohamed, aka “Baba”  for a new personal series entitled "The Queens of Babi".
The series was created after meeting and talking with the members of Abidjan's drag community, and discussing how to highlight their talent and creative passions. For a duration of two years, until 2018, members of the drag community in Abidjan would meet discreetly in an undisclosed bar to attend drag themed events, where they would parade and show off their finest creations to each other and members of a jury. A winner would be picked at the end of each event. The group has now disbanded due to adversities, but their desires to create and self-express remains. I chose to highlight the only two winners of these competitions, as after talking to them, their personalities just stood out to me. What came out of my this were outfits that were made, fittingly, under the theme of royalty. All creations were imagined by themselves and crafted from scratch, which was amazing to watch as I received their photo and video updates. Both have ambitions that reach beyond drag. Britney wants to be a model and an actress, be an international drag queen, have her own life and freedom to do what she wants, and most importantly, be proud of the life she leads. Baba would like to own a fashion company, start a family and work in the entertainment industry. Regular desires, that would normally be attainable to any person whose gender and identity would be deemed “acceptable” to carry these out within society’s confines. Both are also aware of the difficulties of work such as this in Côte d'Ivoire - from the costs, to finding a tailor who would agree to work on their outfits, and premises that would host without fear of backlash. All these remarks sadly point to the elephant in the room: The culture of drag and LGBTQ identity is still not as readily accepted within the confines of modern African society.

The Queens of Babi

A Monday Afternoon in The City

Foothill, 2015.
Oil, manila pattern paper, and bolt fabric on birch wood panel, 10 x 10 inches.

Foothill

Oil on Canvas 
2021, 40x40x3 cm

It is important for me to know that this is exactly the real and only life, and not a place for nostalgia after another one. Through the understanding of time, the acceleration of which we can physically feel, through the vis-à-vis of a living human model, a pause is created, a place is created for the emergence of the present. Every line and every brushstroke is concrete, just like every meeting with this person, a dream, a thought. A technical work with a thought makes it possible to see how the ideal becomes material. I observe the movement, participate in it, and this process is what gives honor and meaning, joy and suffering.


Look how I move

Sky House, 2014.
Oil, manila pattern paper, and bolt fabric on birch wood panel, 20 x 20 inches.

Sky House

Years of Life Lost visualizes the toxic aftermath of corporate mining in rural, low-income, predominantly communities of color throughout the Sonoran Desert, just north of the U.S. Mexico border. In many rural communities, corporations leave behind massive mounds of waste in the form of slag rock and tailings. 

In this work, three vintage Kennecott Copper Corporation billboard ads show narratives of economic prosperity and job creation that circulated widely during the dawn of industrialization. The billboards sit on top of slag waste piles and have embedded animations that illustrate a starkly different reality. Elements of the poster slowly begin to move in the animation to illustrate the labor strikes, abandoned houses, and environmental degradation in mining towns today. 

The visual differences exemplify the disconnect between what was
promised to these communities and the material living conditions the towns were actually left with.

Years of Life lost (we are within the waste)

2021
Black ambrotypes in artist's frames, diptych

Lazy Semaphores

NATURE MORTE no.2 à la dérive
STILL LIFE no.2 DRIFTING
Painted wood frame, metal, oil painting fragment, 14 in x 11 in x 0.75 in, 2020
DRIFTS DRIFTING PHASE II Installation Project. Photo: Paul Litherland

The DRIFTS DRIFTING PHASE II installation project proposes a questioning of human and artistic drift, a theme that Anne-Marie Giroux has been exploring since 2014. Taking a critical and mocking approach to the relevance of the very essence of the art object, the artist also questions the relevance of being an artist and most specifically, the importance of being a woman artist. Composed of three-dimensional works developed with traditional mediums and recovered materials, the installation is presented as a still life, fragmented with multiple « self-portraits » of the artist and her art, adrift.

In the continuity of the DRIFT (2014-2018) and DRIFTING (2017-2018) series as well as the DRIFTS PHASE I installation project (2O19), it is during the Covid-19 confinement of spring 2020 that the artist undertook the creation of the DRIFTS DRIFTING PHASE II installation project. In December 2020, she also had the opportunity to complete an artist residency that allowed her to refine the project and create in situ at Galerie ERGA in Montreal. The artist now plans to present the project publicly.

Anne-Marie Giroux attaches great importance to the creative process. One of the peculiarities of the project comes from a desire to push the practice of painting and sculpture further. She challenges herself to compose with the surrounding material in her studio, whether it is with the oil painting fragments that dried and that accumulated, plasters and cements created for previous projects, materials and objects that have piled up in the studio over the years.

Greatly inspired by the work of Duchamp (transposition of the object into art), Ed Rushcha (conceptual aspect) and Mathieu Lefèvre (questioning and relevance of being an artist), she has created a series of three-dimensional works offering a poetic and minimalist in situ that will be able to transform and recompose itself in the spaces that will host it.

Still life no.2 drifting

Through the medium of oil paint my work captures imagery of the everyday in New York City to highlight the dystopian reality of 2020. My practice focuses on the screen as a surface of mediation, protection, isolation, safety, and fear. Together we acknowledge the courage of our essential workers during these unprecedented times, and their protection of and service to the community at large. I recognize the screen as a barrier and charged index that both separates and unites us. This physical boundary functions as a space from which to consider our privilege and reflect upon our position as human beings during these unprecedented times. It is a barrier that mediates the body and incites questions regarding human desire and fear: the inability to touch during a global health crisis and the longing to connect.

Untitled (07/16/2020)

As a textile artist, I use materials, textures, imagery, and senses to evoke place and time. This year in particular, I tried to bring a feeling of comfort back to the isolated existence I experienced in America in the midst of a global pandemic. I wanted to make my home in India almost palpable- within my reach.

Working on the jacquard loom and embedding a textile with spices common in my family’s cooking allowed me to capture the comfort of scent; just the smell of a spice can trigger fond, powerful memories. Now these textiles can envelop a space with the scent of spices, but have also become meaningful objects that can be folded up and taken with me wherever I go, as a reminder of home and the warmth it brings.


Aromatics

Wake up (2020-2021) is a sculpture composed by two plastic containers filled with bee honey. Thanks to infusion equipment connected to the containers, the honey drips on a glass box that covers the body of a taxidermied hare. This artwork rescues two meaningful elements according to its symbolism on the history of art: the hare and the honey.

Wake up

A self-portrait, titled 'Saturating and Sinking Deeper', from the series CALAMITIES- PLASTIC & FAUNA. 

33.1 x 46.8"

Archival Digital C Type Print 

Dibond Mount+ S/Frame 15mm sub frame

CALAMITIES-PLASTIC & FAUNA was JABO's  response to the headlines surrounding the severity of the Microplastic problem that we are all currently living. The headline that vehemently took O'Neill's mind - 'Microplastic's have become discoverable in Human Organs'. 
Throughout the U.K. Lockdown she became relentless with materials and produced a body of work that contains photographs, sculpture and an oral poetic performance. When combined, CALAMITIES-PLASTIC & FAUNA engages with and stimulates emotional response in the viewer by combining a contradiction of jarring, self-portraits and beautiful sea fauna cyanotypes. In order to elicit the disruptive symbiosis between the manmade material, sea fauna and the human - leaning on aesthetic attraction and haptic/ bodily experiences of the viewer to spotlight the severity of the Microplastic problem. 

Saturating and Sinking Deeper

Portrait of a Liberian Girl

What define jewelry? Wearability? Precious material?


Drawing of penis with horse tail hair and human pubic hair.

Tail ≒ pubic hair ...?

You come into this world alone and die alone, but there's a really long stretch in the middle that can be extraordinarily meaningful and even fun with the right people. And when it's not fun, they'll be with you, too.

The artwork will be produced as an exclusive limited edition with a total of 10 physical works worldwide. Signed and numbered by the artist

Print size: 50cm x 50cm, paper size: 55cm x 65cm
The paper prints have a 5cm white edge to facilitate framing

Materials used:
Canson Rag Photographique 310 gsm


Always alone

N A R A N Č A S T O   or   O R A N G E

concentrates on problem of color orange's rare use in contemporary fashion design because of the connection with anti-fashion garments.


It's a result of studying symbolical meanings of things and objects found in western civilization and their purpose of stigma and signalizing out-of-orderness. Unisex garments are proposed as a product of admonitory and unified individual.

​

O R A N G E is a final thesis collection by MARSOLINI for MA program of Fashion design at Faculty of Textile Technology in Zagreb. It consists of 7 outfits and a theoretical part written in terms of fashion theory.

 

The thesis was mentored by mr. art. Jasminka Končić and realized in September of 2017, with a help of SofijaSilvia, Matej Vitasović, Kasja Borić, Leda Kajfeš, Andrea Pliško and Dora Tominić.

Photos by SofijaSilvia.

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