LIA ZUVILIVIA

Painter and glass sculptor living and working in Brooklyn. About nothing and everything.

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Nov. Ovals, 2024

Ink on paper.

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Exploring Joomchi with Xuan Paper — LIA ZUVILIVIA

I have been painting with ink on Xuan paper for some time now. Xuan paper is a traditional rice paper used especially for Chinese calligraphy and painting. I use different Xuan papers, from raw to semi-raw alternating as I need. Each variety has a different strength, texture, and ability to absorb w

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Lia Zuvilivia | Foundwork

View the artist profile and artwork of Lia Zuvilivia on Foundwork.

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_________________________________ August,2024 Ink on paper, 42x57 in. _________________________________

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Lines

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Ovals of light playing

Ovals, casein on wood panel, 12 by 24 in. 2021

Movements and cycles, colors of colors erased

Light playing

Hand following

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Land

Land of Prayers, oil and flat paint on unmounted canvas, 40 by 92 in. 2020

The last weeks have been of a lot of organization, planning and preparation of the studio to receive people for the open studios of Bushwick and the sudden workshop organized thanks to the sponsorship from the #CityArtistCorps @nyfacurrent @NYCulture

I am grateful how everything had magically unfolded. After months of non-stop working in the studio, the possibility of having a workshop coinciding with the Bushwick open studios changed the rhythm of the summer and I had the opportunity to look at the work done.

This is one of the paintings from last year, one of the first Lands of Prayers. It looks to me now as a fundamental work between the ovals evolving in charcoal and the stream works of the year '19. I notice in this painting the intimacy of internal questions that are ravaging me and continue to intensify and focus: the artist as such and what a work of art is and from where arises, All in the silence of prayer.

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Cut out transparency

Looking through folders and portfolios I found this cut out transparency. The watermarks are from a clear plastic that I use to protect them until they are ready to be framed.

In reality, the frame of these works is part of an ongoing discussion: how and where.

Some of them, when framed, lose a certain fluidity, especially they lose the shadows and the color changes that they produce when they are crossed by light during the day unless they are located near a source of natural light.

Windows, doors and walls are still the way to go.

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Grant Award

I am excited to share that I am a part of #CityArtistCorps!

I submitted a proposal for an immersive workshop at the Studio, to explore, experience and discuss What makes a work of art.

Thanks to @nyfacurrent, @NYCulture, @madein_ny and @queenstheatre for the support!

More details soon at https://bit.ly/3DphM7J

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Cross

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Beads of Prayers III

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Silence

Silence. Ink and paint on newsprint. 18 by 24 in 2018/2020

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Eternal Prayer

Eternal Prayer

Flat paint over wood panel.

12” x 24” 2021

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Work

Newspaper is amazing, texture, transparency. It is so cheap that it releases all the pressure of grandeur that must be achieved on a canvas. I can work for hours until only silence remains. Sometimes Keith Haring pays a visit..

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Finishing

How much time really painting?

I spent this week placing the newsprint inks onto linen. It's a mechanical process, a stressful process that i don't have the skills neither the rawness to do and has nothing to do with painting or the paint itself. Everything is work, painting also is, I have the feeling of being washed away, stripped from the rhythm which the paint drags me in, numb in the daily routine, the business of survival.

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To remain focus

I love Marden, I saw a picture of a new work ... it would be great to speak from where we arrived, the need to fill the space, the fascination with lines to the exhaustion to try to remember or read what we forgot. Painting as a map or book with the hidden meaning to the most profound questions.

Reading L. Ufan on one thing i agreed with, that the lines or the painting are only there to witness the emptiness, or the canvas or, the space, delimiting what cannot be grasped, what cannot be drawn, marking and defining the changeable, just to be experienced or felt.