Alissa Monova (She/her)
There is an underlying, divine, mathematical, order to the chaos of the universe that permeates everything from a macro to a micro level. My practice is an ongoing attempt to tap into this and explore it visually, sculpturally, sonically, and materially. I draw influence from alchemy, organic/inorganic growth, visual mathematics, and the presence of patterns and forms from the biological to the cosmic realm. I am interested in the emergence of complexity from simplicity through rhythm and repetition. Esotericism and spirituality, often feminine in form (witchcraft), inform my work alongside practical experimentation. I am a multidisciplinary artist working with crystallisation, light, printmaking, sound, video, installation and repurposed materials. My processes resemble a chaotic, creative, applied science, as I aim to make work that taps into the energy of the universe.
Echoes of Formation
Echoes of Formation is a large-scale, immersive installation intended to transform a small piece of Stow college into a contemplative space, using alchemical processes. The windows in the space have been crystallised with copper acetate, or Verdigris, a blue-green compound found in metal patinas and used as a fungicide. This solution was made from scrap metal and household chemicals such as vinegar and peroxide. The clarity of the glass is obscured and altered, implying at both protection and toxicity, the range of crystal residues creating a unique formation in each window pane. The scale of the installation, from the vast coverage of the windows, to the varying size of each individual crystal, is imbued with a cosmic aura. The transformation of metal into salts, solid into liquid, into gas and solid again, is a material process indicating a reality in a constant state of flux. The work draws inspiration from natural occurrences such the formation of minerals left behind by flowing water in the earth, the oxidation of compounds by air, and uses metals extracted from the earth and manipulated by fire. Evidence of these transformative processes is contained on acrylic sheets and echoed through the space with screen-printed white on white wallpaper using acrylic puff medium, the materials and processes blurring the line between natural and synthetic. The patterns from the windows are present on the walls, constantly fluctuating between invisible, visible and barely visible depending on the light in the space and the perspective of the viewer. The architectural use of the print hints at a universal abstract divinity that is impossible to see all at once, yet is everywhere and in everything, hidden in plain sight and only visible in subdued moments of contemplation. An accompanying sonic element comprises sounds from a copper pipe, later converted into a copper flute, that have been digitally manipulated and layered into a series of mediative gongs, choral drones and pseudo-vocalisations, blending in with the ambient noise of the M8 motorway. The work aims to create a space for introspection while asking the viewer to look out, and look at, from various perspectives.