CAROLINE TRONCOSSI

Q: What is your medium?

A: Oil on canvas

Q: What is your subject matter?

A: Varied. One starting point came from a book called ‘The Darkside of the Light Chasers’, another painting was done after I watched photographer Scott Tucker in his studio taking pictures of a Chinese girl in her kimono, and performing for us, playing her instrument and singing. I watched her prepare and dress for the performance, and everything was quite particular. She explained the differences between various kimonos: one for marriage, one for going out, one for casual wear, etc. I was so taken by the way the group of people were so normal, just getting on with their thing, and Scott captured this rawness of existence. It seemed as if the people he was taking photos of had something special about them which was so normal to them, but individually beautiful.

Another painting was born from the dump setting on fire. It was tragic and made me mad that such a thing could happen. The toxins released into the environment were dreadful, but when I drove by I was so taken from the beauty of the volcanic colours. It was an emotional war to have this negative and positive feeling about the same thing.

In general this body of work is darker than what one would expect from my past works

Q: How many pieces are you exhibiting?

A: Eight

Q: How was your work selected?

A: We were called by BSoA curator Vikki Evans-Cracknell and invited to show our work as a gr.

Q: What was your reaction at being invited to participate?

A: I was pleased, and very flattered to exhibit with Chesley Trott and Sharon Wilson, and I’ve always been a fan of Johanna Flath’s work. I respect these three as artists so am pleased to hang by their side.

Q: What is your background?

A: I am formally trained (figure and still life drawing, colour theory etc.). In art school you experiment with every medium, as well as personally, to form you ideals. From age 11 I’ve been training my eye to see, so when I throw up a colour it is an educated throw.

I studied at Parsons in New York City and Central Saint Martin’s in London, so my concepts on what I accept as an artist are there for a reason, and I get thoroughly disappointed with the Bermudian way of putting whatever one does on the wall. Art should exist for a reason when it is put in a show to be seen by many. We, as an Island, need to have a higher standard to show that cultural minds exist. It’s not just about matching the colour to your couch!