Cinzia (Syndy) Esteves   Visual Artist

Cinzia  lives in Sydney and has recently completed a Fine Art (Honours) degree at UNSW Art & Design and exhibited in the 2017 spring festival in 107 Gallery,  the annual at UNSW Oxford Street Gallery in 2017 ; exhibited at Gaffa Gallery and at  107 in February 2018.

Cinzia’s (Syndy) artwork is aspired by human expressions through experienced ethereal feelings and societal conditions. They investigate ideologies of our everyday social conditions and environments and currently the muse is via the 'childhood' stage that conditions our identities, reflected through mnemonic and cinematic influences.

 Cinzia’s mediums are oil painting and drawing with various mediums such as pencil, colour pencil,  charcoal, pastel and ink.  She mixes her own colours and retains experimenting with palettes crucial in her works.

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THE MNEMONIC PANELS

 "Mnemonic visions of life and spoken thoughts, run like a cinema inside my head, in silent images and whispers. The painted images of the mnemonic scenes solidify the affects of what was and what was no more.”

The Lecture

The Family

The Mnemonic 

panels investigate the past conditions of Syndy’s childhood. They reflect a ‘filmed storyboard’ of a singular event, consolidated by the mnemonic influences of the self.  It relates the subjective that replaced the objective, developing from the collective that unifies a family being disrupted to the individualism that took place because of broken relations and dysfunctional external influences.  Thus, relating the affects to identity and self-worth.

The works also investigates the psychological association of colour to mood and relating filmic influences on the mnemonic.  A restricted palette emerged, consolidating the historical colour ‘Cyan’ as a major visual impact that somehow relates the sombre and the melancholic to The Mnemonic Panels.  

The Celebration

The Birthday Party    

Self Portrait

Mother

Father

2017 Project 

Families

As families are a microcosm of societal structures,  and their structures are determined by history, dna, geography, culture, influences and political status of their environment.   Investigating the microcosm of my own family, encrypting our history within the paintings. 

3 Methods and 6 portraits of a child

3 methods and 6 portraits of a child

June 2016.

6 Drawings 76 x 58 cm on black Stonehenge paper 

This  body of work is comprised of 6 drawings, that investigates marks via our sensory.  Outlining unseen ethereal marks of identity and disembodiment of, left by conditions of childhood.
Drawing 1 of 6 and 4 of 6 investigate visual sensory via right and left hand,  that investigates duality.  Drawings 2 of 6 and 5 of 6 investigate mnemonic sensory again attaching duality via right and left hand.  Lastly, drawings 3 of 6 and 6 of 6 investigate sensory via blind drawing.    This work has also film documentation that shows experimentation of blind drawing and ambidextrous drawing, that can accompany the works, showing the process of making and arriving to the set of 6. Refer to videos in previous posts for videos.

Portrait of a child 2 of 6. Mnemonic  Right Hand

  

 Portrait of a child 2 of 6. Mnemonic  Right Hand

               

                                 

 Portrait of a child 3 of 6. Blind Drawing Right Hand

               

                               

Portrait of a child 4 of 6. Visual Left hand

                

                                         

Portrait of a child 5 of 6. Mnemonic  Left Hand

               

                                     

Portrait of a child 6 of 6. Bling Drawing Left Hand

                

                                

   

EXPERIMENTAL DRAWING PORTFOLIO Drawing of a portrait. VIDEOS

Ethereal marks on a child mark their internal spaces forever.

In the investigation of ambidextrous drawing and blind drawing of a portrait,  with the use of memory,  the following have come to light: 
+The brain uses both sides at the same time, as I move both hands the only confusion was caused by orientation, either of the angle of the head, or the page or the space, this when seeing or drawing blind, the problem remained. 
+The memory only aided in the placing of shadows using geometry,  the drawings did not improve, but became more abstract and the portrait began to resemble the self more than the subject, especially when using memory only, and forced repetition. I guess one knows ones face best and subconsciously draw it and my proportions got worse. I guess that in the repetition complacency set in, not in the zone? Lack of concentration due to multi tasking?  There is something to be said about the original. Cannot redo or replace.   Marking the internal space without. 

I

Ambidextrous drawing

Blind Ambidextrous Drawing 1 of 4

Blind Ambidextrous Drawing 2 of 4

Blind Ambidextrous Drawing 3 of 4

Blind Ambidextrous Drawing 4 of 4

Left hand portrait of a child 

afternoon dreaming painting by syndy

AFTERNOON DREAMING                                                         

Painting             

syndyispaint@gmail.com                                                                                       

ARTIST STATEMENT

In my mental images I remember the feeling of perplex ion at the movements of the adults around me. I spent many a days and nights drawing reading and dreaming, juggling images in my head while the senses took over to etherealise the images in an internal realm.The resilience of childhood  is the shaping stone of ourselves. The memory of our ancestors are marked upon our being, unseen manifesting ethereally within your gestures. The illusion of innocence in a child is marked by these strokes and gestures of our parental lines, and while these marks grow deeper  innocence leaves us perplexed as to what we keep and what shall we throw away. I spent many afternoons dreaming just like this.