Hey! Your work is so inventive and I was just wondering how you started to transform it into what it is today. When did you start painting in this style and how did it really develop for you? When did your work shift from realistic paintings to more conceptual icing-like crazy amazing work? (not that your realistic paintings weren't amazing!)

Anonymous

Hi! Thanks for the questions! I’ve been rethinking a lot of my work lately since getting back from Italy and Germany this summer and trying to understand what direction I want to take my work in now, so it’s nice to talk about my work with everything in mind :)

First off, thanks for the kind words :) It’s always really encouraging knowing that others are interested in the work I’m so invested in. To answer your questions though, I started painting in a more abstract manner - in comparison to my older more photorealistic work - around the beginning of the year (Jan/Feb 2014). To be honest, I had somewhat of a breaking point with the work I was making at the time as it was mentally, physically, and emotionally draining, especially so with the time restraints given in school. I realized that I was not 100% happy with a lot of things I was making through this strict process and that if I wanted that to continue to grow as an artist, I had to change and challenge myself by working in a new way.

Even though I am still creating work that is visually familiar (textures that resemble frosting, icing, confectionary treats, ect.) the actual process of creating was completely different in both physical and mental aspects. I was scared and confused while making the work, but I came to realize that it was a good thing. Eventually these confectionary paintings evolved. They required new shapes, and these shapes evolved to needing new materials and new sizes - as they were about completely different concepts. The last thing I want to do is restrict myself into just one style or method of working. I know now that the idea behind the work dictates what approach or method of making I use. If one painting’s idea is most efficiently conveyed through a photorealistic style, than that’s great. If another’s idea is best described through abstraction, than that’s what it needs to be. I’m beyond excited to see where my work goes now that I’m outside of school and can create on my own time. Now I just have to finish putting together my new studio and new work will be made in no time! 

I just absolutely love your art. The textures drive me insane (in a GOOD way)... It's just amazing and I would plaster my house with your art if I could afford to!

Anonymous

Thanks so much! I’m glad to hear that you enjoy my work so much, but don’t feel too intimidated to message me off anon and inquire about pricing! (This goes for everyone else too!) I’m happy to take on commissions and would be happy to discuss sizes and prices of paintings :)

Now that I’m back in Minneapolis from visiting Italy and my summer internship in Germany, I finally have the chance to edit and upload some documentation of new paintings I finished before I left in June. I made these new paintings as perks for those who donated specific amounts for my Indiegogo campaign.

If any of you guys are ever interested in commissioning a painting from me, just email or message me to discuss specifics! ♡☆♡☆♡

"Alicudi Project (2001)" (Work in progress) by Paola Pivi

"Alicudi is a small island off the north coast of Sicily and was for a while the home of the Italian artist Paola Pivi. She has taken a photograph of Alicudi and has made it her goal to print out the picture on a 1:1 scale, on massive rolls of PVS measuring 5 x 50 m long. Each time the Alicudi Project is exhibited, another roll - carrying the next section of the image - is to be added. To assemble a full-scale photograph of the island, Pivi would need 3,742 rolls. The finished work would measure 500 x 1818.75 m - just under a square kilometer.
The impossibility of achieving this ambition is inherent in the concept right from the start. The attempt to appropriate one’s home and translate it into the exhibition space remains a utopian idea.”

As seen at the Hamburger Bahnhof in Berlin, Germany

(Source: jacobaaronschroeder)