BLUSHING (PINK AS FUCK)

Romana Londi’s Blushing (Pink as Fuck) belongs to an intellectual and cultural milieu exploring the issues and paradoxes of being a young woman today. It is with a candid, calculated disregard for conventions and taboos that Londi exposes the convergence of diverse feminist histories with contemporary identity politics and social critique; overriding the concept of a singular feminist narrative, questioning the myth of shared womanhood, and identifying con- temporary obstacles for women’s emancipation.

Since 2014, Londi has been experimenting and working with the development of photochromic ink varnishes. Photochromic ink darkens on exposure to certain types of light of a sufficient intensity, most commonly ultraviolet (UV) radiation, which is present in the sun, and marks the primary condition for the possibility of life on earth.

In the absence of such an activating light, the painting remains in its ‘clear’ state. With exposure to UV, how- ever, the paintings appear and disappear. The col- our shades vary according to the strength of the light.

The works are therefore vulnerable and dependent on their surroundings, to the extent that even their ‘life span’ is determined by the condition and amount of UV light exposure they have experienced. Ultimately the paintings will ‘trap’ the colour on the painting surface, permanently depict- ing the ways in which the light has fallen onto them.

As a series, Blushing (Pink as Fuck) engages in a meditation on the politics and history of the colour pink, and through continual metamorphosis, addresses what Rosi Braidotti describes in her Nomadic theory as ‘the schizophrenic mode that is characteristic of our era and the hybrid, sexualised, nomadic subject we have become.’


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BLUSHING (PINK AS FUCK)

Romana Londi’s Blushing (Pink as Fuck) belongs to an intellectual and cultural milieu exploring the issues and paradoxes of being a young woman today. It is with a candid, calculated disregard for conventions and taboos that Londi exposes the convergence of diverse feminist histories with contemporary identity politics and social critique; overriding the concept of a singular feminist narrative, questioning the myth of shared womanhood, and identifying con- temporary obstacles for women’s emancipation.

Since 2014, Londi has been experimenting and working with the development of photochromic ink varnishes. Photochromic ink darkens on exposure to certain types of light of a sufficient intensity, most commonly ultraviolet (UV) radiation, which is present in the sun, and marks the primary condition for the possibility of life on earth.

In the absence of such an activating light, the painting remains in its ‘clear’ state. With exposure to UV, how- ever, the paintings appear and disappear. The col- our shades vary according to the strength of the light.

The works are therefore vulnerable and dependent on their surroundings, to the extent that even their ‘life span’ is determined by the condition and amount of UV light exposure they have experienced. Ultimately the paintings will ‘trap’ the colour on the painting surface, permanently depict- ing the ways in which the light has fallen onto them.

As a series, Blushing (Pink as Fuck) engages in a meditation on the politics and history of the colour pink, and through continual metamorphosis, addresses what Rosi Braidotti describes in her Nomadic theory as ‘the schizophrenic mode that is characteristic of our era and the hybrid, sexualised, nomadic subject we have become.’


Prev | Next Back to all artworks.