Eveline Kotai
Eveline Kotai (@evelinekotai) was born in 1950 and lives in Fremantle, Western Australia.
While Eveline has used a variety of media during the course of her 40-year art practice, over the past 16 years she has concentrated on the theme of material dissolution and regeneration. Recent exhibitions Infinite Threads (2012), Subdivision (2014) and Writing on Air (2015) all draw their titles from the artist’s symbolic and material interpretation of the nature of change.
Eveline’s unique technique of cutting up and reworking paintings into new compositions echoes a world in constant transition. Not only do her methods provide a constant source for new beginnings, but the action of cutting and stitching canvasses have become an important meditative practice that is reflected in her final pieces. Works that may previously have been representational are sequentially dismantled so that the remodelled ‘palette’ becomes the impetus for new directions.
Inherent in the synergies that unfurl are further iterations of nature itself. The complex combinations of tone, colour and surface merge into harmonies that are reminiscent of life’s underlying cycles - sensed but not easily recognised.
Eveline's work offers a space for contemplation that distills her ongoing inquiry into the correlations between art, life and nature.
“In recent years she has developed a unique style whereby she cuts up her paintings into thin strips, and reassembles them as tightly knitted grids, using a sewing machine to attach the strips to a canvas with invisible thread. The method is infinite in its applications, and this exhibition is virtuosic in its stylistic variations…While her structures may be rigid, Kotai uses colour to create patterns and rhythms that dance on the canvas.”
Eveline Kotai (@evelinekotai) was born in 1950 and lives in Fremantle, Western Australia.
While Eveline has used a variety of media during the course of her 40-year art practice, over the past 16 years she has concentrated on the theme of material dissolution and regeneration. Recent exhibitions Infinite Threads (2012), Subdivision (2014) and Writing on Air (2015) all draw their titles from the artist’s symbolic and material interpretation of the nature of change.
Eveline’s unique technique of cutting up and reworking paintings into new compositions echoes a world in constant transition. Not only do her methods provide a constant source for new beginnings, but the action of cutting and stitching canvasses have become an important meditative practice that is reflected in her final pieces. Works that may previously have been representational are sequentially dismantled so that the remodelled ‘palette’ becomes the impetus for new directions.
Inherent in the synergies that unfurl are further iterations of nature itself. The complex combinations of tone, colour and surface merge into harmonies that are reminiscent of life’s underlying cycles - sensed but not easily recognised.
Eveline's work offers a space for contemplation that distills her ongoing inquiry into the correlations between art, life and nature.
“In recent years she has developed a unique style whereby she cuts up her paintings into thin strips, and reassembles them as tightly knitted grids, using a sewing machine to attach the strips to a canvas with invisible thread. The method is infinite in its applications, and this exhibition is virtuosic in its stylistic variations…While her structures may be rigid, Kotai uses colour to create patterns and rhythms that dance on the canvas.”
Eveline Kotai (@evelinekotai) was born in 1950 and lives in Fremantle, Western Australia.
While Eveline has used a variety of media during the course of her 40-year art practice, over the past 16 years she has concentrated on the theme of material dissolution and regeneration. Recent exhibitions Infinite Threads (2012), Subdivision (2014) and Writing on Air (2015) all draw their titles from the artist’s symbolic and material interpretation of the nature of change.
Eveline’s unique technique of cutting up and reworking paintings into new compositions echoes a world in constant transition. Not only do her methods provide a constant source for new beginnings, but the action of cutting and stitching canvasses have become an important meditative practice that is reflected in her final pieces. Works that may previously have been representational are sequentially dismantled so that the remodelled ‘palette’ becomes the impetus for new directions.
Inherent in the synergies that unfurl are further iterations of nature itself. The complex combinations of tone, colour and surface merge into harmonies that are reminiscent of life’s underlying cycles - sensed but not easily recognised.
Eveline's work offers a space for contemplation that distills her ongoing inquiry into the correlations between art, life and nature.
“In recent years she has developed a unique style whereby she cuts up her paintings into thin strips, and reassembles them as tightly knitted grids, using a sewing machine to attach the strips to a canvas with invisible thread. The method is infinite in its applications, and this exhibition is virtuosic in its stylistic variations…While her structures may be rigid, Kotai uses colour to create patterns and rhythms that dance on the canvas.”