Lizz Aston's practice is informed by the history and production of textiles and decorative arts.
In recent years the influence of nature (including flowers and semi-precious rocks), human interconnectedness, and the current sociopolitical environment has permeated her work.
Like the best of Lizz Aston's work she begins by embracing an anonymous textile pattern, such as a hand-made lace doily, and then manipulates it digitally before creating a new contemporary descendant. These transformed and augmented patterns are then hand-cut on fine Japanese Kozo paper (aka mulberry paper) which are then painted, stained or dyed.
The title of this work "The Kalends" (or Calends) refers to the calendar, or the first day of the month in the Roman Calendar. It signifies the start of a new phase or a beginning. The calends was not included in the Greek Calendar, so to postpone something 'ad Calendas Greceas’ was often intended as a joke, or an expression meant to postpone something forever, or indefinitely (a particularly timely concept in our uncertain times).
Aston was inspired by the collective experience of time, and the dissolution of the normally rigid / chronological time during the global pandemic.
Calendula Officinalis, or Calendula flowers are also named after the calends because they bloom on a monthly basis. The colors and forms in this piece were inspired by Calendula flowers growing in Aston's garden. Vivid, vibrant turquoise flows into the flaming orange of Calendula flowers. (The last image shows a variety of Calendula flowers)
To heighten the form's impact, Aston elevates the cut-out with an intricate structure of pins thereby creating dramatic shadows.
To learn more about Lizz Aston's process .
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"The Kalends"
Canada, 2020
Hand-cut, painted and dyed Japanese Kozo paper
Signed and dated on the backing by the artist.
19"H 18"W (framed)
Framed with museum glass with specifications by the artist
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