Zostera Marina III
By Lígia Oliveira
Mineral pigment and botanical pigment on handmade, recycled cotton paper 300 gsm
56cm x 76cm
Unique work, 2020
About Lígia Oliveira
Lígia Oliveira grew up surrounded by the tranquillity of Ria Formosa landscapes in southern Portugal. She studied Product Design in ESAD (Matosinhos, PT), and obtained a Ph.D. in Public Space and Urban Regeneration at the University of Barcelona. Since the beginning of her career, she maintained a balance between multiple practices – writing, drawing, painting, design; academic research and teaching.
Lígia’s work has been supported by Mind & Life Institute, Portuguese Ministry of Culture, Calouste Gulbenkian Foundation, Rectory of the University of Porto, Foundation for Science and Technology, and Spain’s Ministry of Foreign Affairs and Cooperation. Her artworks can be found in private collections across Europe.
About Zostera Marina III
‘Zostera Marina III is one of the artworks from “Between the Sea and the Shore” series whose technique calls for a perception inclined towards a peripheral vision. This representation of seagrass meadows aimed at this property of our sight that is greatly unused in our contemporary lives in interior spaces, in which we tend to use a central gaze. Peripheral vision is called for in outdoor natural areas with panoramic views – such as the vast landscapes where seagrass meadows can be found – where we don’t look at one particular thing for too long. This mode of vision produces a relaxing response in our brain.’ Lígia Oliveira
Inspired by the extraordinary underwater gardens of seagrass meadows, Lígia highlights these beautiful yet endangered ecosystems from which most of ocean life depends upon. With the institutional support of the Portuguese Ministry of Culture.
In alignment with Lígia Oliveira’s sustainable practice, this painting is on 100% handmade, acid-free, recycled cotton paper with 300 gsm (140 lb) exclusively with natural pigments. Due to the paper manual fabrication process, it has deckled edges and an uneven surface. It also has a unique, rough texture. Natural, non-toxic pigments sources were used, with cruelty-free brushes. Signed on the back.
This work is unframed.