The Bite Magazine - Spring/Summer 2020 - Issue 27

bite exhibition 011 Tiffanie Delune - Take Me Higher 014 Tiffanie Delune - The Sun Doesn’t Burn guidelines concerning Covid-19, a virtual tour was set up which allowed art enthusiasts to view the artist’s work while obeying the government’s advice to ‘stay home and save lives’ in the com- fort of their homes. Seeds of Light is an extraordinary collection of artwork that is described by curator Katherine Finerty as “full of radiant bright colours and evocative abstract shapes, teeming with hidden personal memories, mutable senses of cultural belonging, and spiritually charged visions of hope. Rainbow spectrums sum- mon abstract dreamscapes accompanied by the holistic colour therapy, resonating in a harmony of love and rebirth defining a universal story of womanhood.” With each piece telling a story such as the colourful Dancing With The Universe, your eyes cannot help but roam over the different correlations of colours and shapes which seem to take us on a mystical journey through Tiffanie’s imagination. The materials used and the ideas derived by the artist are as the cu- rator says, “At once delicate yet resilient, deeply personal yet collectively reflective.” Included in the solo exhibition was the self-portrait The Bees as well as new works: Childhood Memories and Spirituality. Childhood Memories was a specially commissioned piece for the Alexandra Cohen Hospital for Women and Newborns in New York, in which the series expanded upon the artist’s focus from the past two years on exploring themes of stolen innocent and displaced domesticity. Through this, she finds “beauty and be- longing grounded within a complicated family history and col- lective memory, animating the ashes of a childhood gone by as both a liminal space and tactile surface to forever rise from.” Another painting, I Come From Far is a strong abstract of rich colours that resembles an African theme. The leaf-like strokes of white, red, green, and navy blue strands across the canvas dom- inate the very dark-looking castle found at the bottom of the painting. There is a sense of fiery emotion as if the background of red behind and over the castle is burning with a furnace of fire while the upper yellow background provides a kind of relief and positive element of light. One of my favourite paintings is We’ve Always Been Kings and Queens which shows an amazingly large ace of hearts playing card with abstract shapes representing the monarch subject with medieval headdresses. The bright yellow background brings a ray of sunshine while the blue flowers are perfectly drawn. An- other one is Protect My Eyes From Your Fears which, to me, looks like an underwater scenery where the claws painted in red and maroon are shielding the eyes or plants from danger. The Childless Mother is quite interesting as it shows a woman in a cape with a faded face, yet there is a slight trace of her fea- tures. Perhaps the artist is trying to tell us that the woman is there, yet not present. To me, she appears to be a maid with her mostly black uniform but it is not entirely clear. Nonetheless, it is a very interesting collage of shapes, colours, and the mystical background in pastels and dark red, expertly blended in, with blotches of black and a green curve. Turning gravity on its head and reversing its philosophy, What Must Come Down Must Come Up is a collage of leaves, a house- hold glove, hair net, wool, with metallic embellishment and pen on paper on an acrylic and oil pastel painting. It is quite an in- teresting piece of work with asymmetrical shapes in maroon and red, and a pink-purple pastel mix of colours against a dark back- ground with specks of light blue, green, and yellow. It also has a chain of white symmetrical locks that brightens up the painting. With Tiffanie’s paintings going back the last three years, her other amazing creative pieces include her 2018 work: The Art of Camouflage, My Mother: A Cannibal Flower, Love Circle, and