THE INFINITE:
ARCH AND LINE
February 20 thru May 30, 2021
New Jersey artist, Anna Carina Sinocchi, focuses on the classical shape of the arch and the formal element of the line. Sinocchi has a creative process of complex layering using various media. Her work inspires and transforms the unknown into something original, mysterious, and grand.
VIRTUAL TOUR WITH THE ARTIST
MEET THE ARTIST
ANNA CARINA SINOCCHI
Sinocchi was born in Orange, New Jersey, in 1970. She earned both a Bachelor of Fine Art degree (1993) and a Master of Fine Art degree (2013) from William Paterson University located in Wayne, New Jersey.
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Her artwork has been featured in both solo and group shows in galleries and museums, including: the Paterson Museum, Paterson, NJ; the Monique Goldstrom Gallery, New York, NY; Noho M55 Gallery, New York, NY; The Salmagundi Club, New York, NY; Aljira, a Center for Contemporary Art, Newark, NJ; The Watchung Art Center, Watchung, NJ; Castell Gallery, Ashville, NC; Impact Gallery, Buffalo, NY; and P.O. Box / Vincent Gallery, Mansfield, MA.
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Sinocchi’s work has been reviewed by the Newark Star Ledger and New York Times. In 2008, Associated Press reporter Brad Haynes’s review of her work was circulated globally in U.S.A. Today, The International Herald Tribune, and The China Post.
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In 2009 Anna Carina was an artist in residence at Peters Valley, Layton, NJ, with the support of a Geraldine R. Dodge grant. In addition, her work is included in both private and public collections, including NJ Congressman, Bill Pascrell, The Center for Photography at Woodstock, and The Newark Public Library.
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Anna Carina Sinocchi continues her fine art practice and is a professor at Passaic County Community College.
ARTIST STATEMENT
The process-oriented works in this exhibit focus on the classical shape of the arch and the formal element of the line. The process involved is intuitive. It starts with the photogram, an alternative photographic approach to image making that utilizes light on a photo sensitive substrate, in this case muslin as well as paper. The process is automatic and uncontrollable, producing an outcome that is unforeseeable and unique.
The photogram produces a silhouetted shape that sets the foundation for painting. The way the photograph is developed, as well as the transformation of the material surface, reveals for me my next step, the painting. By opening myself up to the unexpected, my engagement with painting is somewhat passive, unlike that of a traditional painter. Rather than working from preconception, I paint by orchestrating the nature of what is revealed before me.
The works exhibited contain within themselves the invisible world: traces of the infinite. They are meditative and slow moving. They encompass not only the historical, and the metaphysical, but also the lyrical and the sensual, an art based on the hand and the body. The muslin’s sensuous folds, bumps, ripples, cracks, creases and weathering contain life (reality) or at least the mark that gives evidence of life.
The creative process of complex layering of various media permits me to enter a world of the unknown and create art that transforms the unknown into something original, mysterious, and grand.
Roman Arch
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The echoing effect of these architectural structures strikes me as enigmatic. Yet upon viewing them, the sense of the local presents itself to me in a peculiar way. I sometimes question whether it is because the arch is an image I saw so often growing up. Does this cultural icon recall for me the entire classical world’s representation of all that is Italian? What I do know is that the form of the arch summons a spiritual feeling in me. The arch possesses an empty expanse; this is what makes it enigmatic. The spiritual resides in these works where the arch functions as the portal to the space beyond the form of their physical presence.
Line
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In my work lines repeat, flow, and pass. The lines created by the muslin’s creases and folds in the material create an infinite landscape. It is here in this landscape where my works exist without any traces of beginnings or endings. Although restricted and confined within the finite form of the material, the lines visually extend beyond in an implied manner.