Andrea D'Aquino: Support System

Released Tuesday, May 29, 2012


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Support System, by Andrea D'Aquino.
15% of the sale of this print goes to Shama Foundation.

Andrea D'Aquino is an experienced art director and graphic designer. In just the last couple of years, she decided to put her energies more seriously into her personal art and illustration. Andrea studied art and graphic design before Macs were ubiquitous, so she feel fortunate not to have had to learn the lesson that creativity has nothing to do with using software, though she loves using technology. Andrea spends many hours walking her dog and trying not to think too much. Somewhere in between the artwork seems to happen. At the moment, she is also learning silkscreen printing, which she says suits her very well.

This is the second time The Working Proof has paired with Andrea. The first print, Green Zen I + II, also benefited the Shama Foundation.
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About the print:
I try to allow ideas to happen organically; meaning that I try not to over-control or plan too much. I allow them room to grow, and take on a life of their own. If sketches are too specific, the end result tends to lose some life and spontaneity. I'd say that very concept in itself it the idea of this piece: all thoughts and actions are connected to each other, and have an effect on each other. Our thoughts, actions, the physical world around us, there is no solid boundary between them. Something has affected us, and we in turn, affect something else, and hopefully for the better.

This print is available in multiple sizes. It was digitally signed by the artist. The 8x10, 11x14, and 16x20 prints are numbered by The Working Proof. Learn more here.

PURCHASE!

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What themes are recurring in your work, and what is the meaning behind them?
One theme is hands and human figures, though not overly specific - more of a universal "every person". The meaning being striving for a higher consciousness and understanding (with or without success) of what we are doing here. Not of any particular philosophy (most of those intersect at a basic level, anyway).

A second theme I use is mythological creatures with a meaning that is very similar to the first, really. They become a 'blank slate' that almost anyone can relate to or project themselves onto. Often wandering around in curious environments‚ slightly lost, but not without dignity in trying to figure out what on earth is going on.

Why did you choose to pair with Teach for America with your print?
I chose to pair my prints with The Shama Foundation of Madagascar. I do not have children, so this is one way to be supportive of the most innocent among us, not to mention those with the most potential. It is also a way to acknowledge that I myself have been very fortunate to grow up in a supportive family with all of my needs more than met. As the Shama Foundation says on their website: "Madagascar is considered one of the most biologically diverse countries in the world. An educated people may make the informed economic and environmental choices needed to heal and sustain Madagascar’s unique ecosystem."

What have you been up to since we last worked together?
I work as an art director and graphic designer on all kinds of projects. All visual and conceptual work that is often satisfying, but I find I must always make time for my personal expression. Otherwise, I feel like all my time and effort is spent conveying someone else's thoughts to the world, and why should I do that?!

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How has your work developed over the last year?
I feel some confidence has allowed me to be bolder, less tentative. But still always trying to get to a place that feels even more strong and effortless. By "effortless", I don't mean without working - but working in a manner that feels completely natural to me, and not necessarily anyone else. When things are working well, there is an ease, less thinking, less struggle‚ just pure doing. Those are the best times.

What is inspiring you these days?
I find the work that I enjoy looking at most is usually very painterly, abstract or very loosely representational. I think that work was most popular in the 40s/50s‚ it's not trendy now, but just as vital, for the people still doing it. I am inspired by a sophisticated or offbeat use of color-relationships, texture and form/composition. The classic elements, really. As long as it's not too academic or literal. I tend to be very bored by work that is strictly about perfection or an overt reflection of reality. It really needs to got a step further grab me.

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