2012
What the Candy Girl said: „I´ll Always Love You!“, 2011, MDF, varnish, digital print, 120x90 cm (Ausschnitt)
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„I Told You So!“, she said. 2010, MDF, varnish, digital print, 120x90 cm (Abb. gedreht)
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Japan Girl, 2011, MDF, varnish, digital print, 90x120 cm
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What the Candy Girl said: „Hold Me Tight!“, 2011, MDF, varnish, digital print, 120x90 cm (Ausschnitt)
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„I´ll Protect You!“, she said. 2010, MDF, varnish, digital print, 120x90 cm (Ausschnitt)
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Self Portrait, 2009, MDF, varnish, digital print, 120x90 cm
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„Make Me Happy!“, she said. 2010, MDF, varnish, digital print, 120x90 cm (Abb. gedreht und gespiegelt)
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What the Candy Girl said: „Wet Dreams Come True!“, 2011, MDF, varnish, digital print, 120x90 cm (Abb. gedreht)
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Untitled, 2011, MDF, varnish, digital print, 120x90 cm (Abb. gedreht)
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Untitled, 2011, MDF, varnish, digital print, 120x90 cm (Abb. gedreht)
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Sound Panel I, 2011, digital print, 120x90 cm (Abb. gedreht)
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What the Candy Girl said: „You´ll Understand Soon!“, 2011, MDF, varnish, digital print, 120x90 cm (Ausschnitt)
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previously used images and motifs. The process of creation makes it difficult for Nina to explain herself and her background within her website. The moment of artistic creation is in some way an event that happens separately. It flows from her, but is not fully part of her consciousness. Nina feels very keenly the tension between her artistic and private lives. Her rational self desires to protect her privacy and anonymity, but at a deeper level she wants her art to reach out and resonate with the viewer. She explores deep and universal themes and she wants the images to connect with the viewer.
Nina Levett is a design studio focussing somewhere in between illustration, art and design. Nina Levett is the archetypal enigma. A mother of two, with degrees in business economics, architecture, real estate and fashion she has spent the last six years experimenting with, and exploring ways to express her experiences, thoughts and interpretations of the world around her. She cannot be pinned down to one medium, having perfected a way to attach designs and motifs to a range of materials from canvas, ceramics, fabric and glass, to paper, fibre-glass and metals. Her style has moved from highly geometric to fluid and spontaneous. Neither is she limited by technique. Her ideas are expressed via sketches, printing, painting and engraving. Her work can be provocative yet, or perhaps in consequence, she guards her own privacy fiercely. Because of this, she has struggled to articulate how she wants to represent herself and her art on her website. Nina works in a spontaneous and energetic way, with many interwoven projects on the go at once. Some projects are in production, others are in incubation in her mind, but still are growing and developing, awaiting the right time to be ‘born’. She cultivates and nurtures her ideas and influences, but, just as with a real birth, the creation process takes place in a different realm, one that is difficult to plan, predict or control. The results are often a surprise to her, despite the months of quiet development that have happened beforehand. Sometimes the result is something completely new, sometimes it is a jarring juxtaposition of
Nina’s art requires effort in order to understand the whole meaning. There are, in fact layers of meaning and Nina wants her viewers to make the effort to explore the deeper issues. At every level the art can unsettle and shock the viewer. At its most simple it could often be considered pornographic and without the deeper levels of meaning, this exposes Nina to all of the risks of being associated with the ideas of exploitation and sexual violence that this kind of art can provoke. She is very wary of this association. For her, the design must also be understood at a deeper level. She still explores issues of exploitation, violence, sex and oppression but rather than base the response to the art at the level of the senses, she explores the more profound universal themes of spiritual and emotional bleakness that she sees within her own society and within the domestic realm in particular. She is fascinated and repulsed by the drudgery and bleakness that can lie at the heart of domestic life. Her designs explore issues of marital unfaithfulness, the deadening effect that the relentless familial or conjugal routine can have on the individual and the perceived desperation and loss of freedom that results from submission to this role. At a still deeper level, she believes that her images tap into a fundamentally dark and lost worldview. She talks of art replacing God, of objects replacing God. Once a God-centred view is lost, the individual’s unique and intrinsic value as a being created in the ‘image of God’ is also lost. She argues that society, in striving to replace this uniquely affirming viewpoint, seeks to replace the void with objects or things. Her art thus reflects back to the viewer the fundamental bleakness of their lost post-modern condition.
Steinerwirt1493 wirtshaus kultur hotel | Dreifaltigkeitsgasse 2 | 5700 Zell am See | Austria | Phone: +43 6542 72502 | Mail: office@steinerwirt.com | Web: www.steinerwirt.com