Genie Poretzky-Lee

Genie Poretzky-Lee graduated in Art and Sculpture from the Academie Julian, Paris.

Her exhibitions and publications stretch over a period of at least three decades, resulting in her work being found in collections worldwide.

While much of the recent press and written material that she has received has been centered around her Spheres - an extensive series - the Spring exhibition at Daniel Raphael has the privilege of showcasing Poretzky-Lee's floral textile and mixed media pieces of work which were completed in December 2016.

Let us stop here - Textile & acrylic on canvas, (100 x 100 cm)

Best be still, best be empty - Mixed media on canvas, (100 x 100 cm)

The way of bees is honey in the heart - Mixed media on canvas, (60 x 50 cm)

I am the plant of life says Osiris - Mixed media on canvas, (60 x 50 cm)

Spring rises from the lower depth - Mixed media on canvas, (60 x 50 cm)

Heavenly dragons bring seed into being - Mixed media on canvas, (60 x 50 cm)

It stands alone and unchanging - Mixed media on canvas, (60 x 60 cm)

Shimenawa - This sphere is wound with Japanese rice straw shimenawa, as a bee Shintai. The common Shintai is a man made devotional object, a natural Kami (spirit) sculpture where the entity resides, in this case the kami of the bee.

As the wind rushes through - Mixed media on canvas, (60 x 60 cm)

Hands can tell the story of a flowering - Textile & acrylic on canvas, (100 x 70 cm)

Interview

Q: You have several strands to your practice and produce paintings, sculpture, drawings as well as word-based material. How does each aspect influence the others? How do they interact?

For art to retain genuine function it has to consider its language. For art to participate in life it does not necessarily need to have a meaning but it has to speak a language. Through my work I am seeking language in order to tell a story and therefore I will use whatever medium is most appropriate.

Q: Do you know which medium you are going to be working with before you start?

Occasionally I have an idea but usually each work is a journey of discovery.
My recent work produced for an exhibition Shakti (the energy that emanates spontaneously from the supreme) at the MOG (Museum of Goa), which included both painting and a sculptural installation, were all produced using sari fabric -  so it was the stimulus material that dictated the work. So often a background theme might emerge when I am producing a body of work but I am not restricted to any particular medium.

Q: What attracts you to the materials that you use?

Often the softness and pliability of materials is what draws my attention. I enjoy the opportunity to transform the ordinary perception by presenting new combinations - My research into Alchemy has been fundamental to my work.

Q: You started off working in textiles, does this still influence how you approach making?

The concept of the thread as an uninterrupted and continuous notion, is always present in what I do. In addition to my fine art training I trained as a weaver. I am fascinated also at how threads themselves link together to create a surface.

Q: You’ve travelled all over the world. How have your experiences abroad influenced your practice?

I was brought up in France where I was deeply influenced by the tapestries known as La Dame a la Licorne (1500) which are still, for me, an intriguing and mysterious art form. The work exhibited for the Spring Fling has notes that are reminiscent of the Mille Fleurs. From there I experienced the textiles of India and of the Andes and a number of international art museums that have all contributed to a variety of my explorations.

Q: You also trained as a therapeutic healer, how has this influenced the way you approach making work?

It opened my awareness to the unseen and perhaps sharpened my intuition.

Q: What do I want my work to convey?

Poetic images - The unexpected - Ancient mysteries - Human presence - Pain.