Gwenaela Quillere
Wolfingrid spent decades developing a distinctive visual language that fuses traditional mark-making with digital transformation.
Her practice begins with meticulous biro hand drawings on paper —intimate, and very detailed—before evolving through digital processes into colour-saturated work on abstract compositions.
One important aspect of the work is immersion: long happy hours spent "immersed" in the process of drawing, countless blissful hours spent "immersed" in the process of abstract compositions, all in the name of fortune; good luck, blessings, happiness, good outcome ( "two for joy" )
Drawings are digitised and a matrix of layer upon layer of good luck is born: dozens then hundreds or thousands of pairs of magpies are weaved together : "two for joy" x 100, sometimes 500, sometimes 1000 or more.
There is no limit to the good outcome worth wanting.
Recurring motifs in her work are birds, flowers, trees, and water - they operate as anchors in her ongoing exploration of what it means to be human in relation to nature.
These themes unfold through intricate patterns made of many layers of figurative drawings interacting with each other. A nurturing process that loads each piece of work with as many pairs of magpies as possible ( the multiplication of "two for Joy" ).
Once the hand drawing is digitised, colour is created digitally through the interaction of layers in digital form. The work resolves as a large digital file and gets printed as a high grade Art print. Each print is a "one of" in a limited edition of 100.
Wolfingrid is keen on dualities: what we fear versus what we wish for, free will versus social cohesion and solidarity, Animal Nature versus Human Nature, the individual psyche versus the collective unconscious.
Each piece of work starts its life on paper as a drawing. Wolfingrid likes to use biro, the same sort of generic biro we all use to write, the same sort of biro we all use to doodle on a note pad while our thoughts unfold.
Her practice is both inquiry and mirror, with love and curiosity about the beliefs we hold and live by. That is why she loves the magpie rhyme.
Colour plays a critical role in this exploration. Often jarring and hypnotic, and draw viewers into an environment where logic and emotion, flat surfaces and depth, detail and synthesis coexist in a wholesome balance.
Her work sits somewhere between drawing, digital art, and visual ideology.
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