PAINTINGS

Titane's art is mainly conceptual in nature, inspired by the Taoist theory of Yin/Yang and Carl Yungís Anima/Animus concept. Her practice is influenced by Abstract Expressionist artists such as Robert Motherwell, Franz Kline, Pierre Soulage, Hans Arp and Antony Gormley etc.

"That which gives me joy is in turn the source of my sadness, Anima and Animus, strength and weakness, black and white, warm and cold, etc." These contrasts are an inherent part of life, and as such form the roots of her artistic dynamic, ever searching for balance and harmony. Titane works with the sentiment of destabilization that is provoked by the juxtaposition of different abstract elements. She then seeks to create balance wholeness and unity amongst these contrasts.

She works the medium until a composition has been achieved. In a sense, Titane's art forms a pictorial vocabulary aimed at expressing the journey of life and its tensions. She seeks to constructively articulate her animosity towards the absurdity of stale institutions and patriarchal dogmatism which stand in stark contrast to inner unconditional love. She consciously invites the viewer to appreciate being in the present moment, powerful and weak, divine and mortal at the same time and yet to surrender to the chaos created by those tensions.

"Looking at my practice through a Yin/Yang Anima/Animus lens, I came to the realisation that whilst painting expresses the Animus side of my psyche, (strong, bold, masculine and dynamic etc.) sculpting represents the Anima, (soft, loving, feminine and sensual etc.) Together they form a wholeness that is me. The ultimate contradiction is that the theory itself is superseded by the act of creation. When I paint or sculpt I feel in harmony with nature and with the divine source. I forget the objects and forget myself in the experience of being."

SCULPTURES

Her interest in the philosophy of contrast and harmony in nature (Taoism), leads her work to embrace abstract contrasts including weight, poise, and elements of the biomorphic form.

Laurentís sculptures reflect on her deeply felt humanism and tend to be playful, sensuous, motherlike and organic veering towards allusive, ambiguous shapes.

Her obsession with universal love, returns again and again to the motifs of human embracement and intimacy drawing analogies between the body, emotional and intellectual states.

The artistís interest in nature, spirituality, and Anima (described by Carl Jung as the inner feminine part of the male personality) as well and her softly optimistic, redemptive view of humanity, leaves her audience with the memory that anyone can rebound from disaster.

Evoking nature and resembling curious amoeba life-forms, the works are wide open to interpretation and offer the viewer sufficient field, emotion and sensuality for exploration to last a lifetime.

Executed in simple materials, such as cement, plaster, marble dust etc., the forms are characterised by a purity of line and polished surface. The finished form rests upon contrasting plinths of varying mediums and colours.

Despite the simple medium, the biomorphic works have a real timelessness and elegance to them.

The key to their success is that they appeal to collectors of classical, modern and contemporary art alike.

The artist is currently exploring the use of different materials and scale with the view to build, install and display works in public spaces.