|‘I always loved the aspect of art being
able to have a psychedelic effect on someone without inducing actual drugs.
That’s what I want people to feel when they view my work, like they are
immersed in a dreamy haze of a technicolour fantasy world.'|
Word for word, this is what we felt when discovering the work of Marina Fini, worldwide collaborator and psychedelic babe of all things 'ridicilous or comical.' Fini is a fabulously addictive find. Willingly, we allow the artist and designer to take us into her 'dreamy haze' where the humorous coincides with the sombre.
With film and photography a strong constant within Marina’s creative career, jewellery design has offered invaluable self- funding for artistic projects. Naturally drawn to large accessories and bold styles, creating jewellery allowed an easier sense of expression in realising a desire for a sought out aesthetic; of something ‘big and ridiculous.’ At the age of 20, alongside filmmaking and costume design, Fini’s plexiglass jewellery business took shape. The vastness of online marketplace Etsy procured plexiglass as a definitive material for the designer thanks to its ‘translucent and light reflective properties.' Over the past three and a half years, the plexiglass obsession has increased with pieces developing in size. As time passes, Marina’s online vending across the world, has raked in plenty of opportunities such as shooting with, elderly but young spirited internet icon, Baddie Winkle and having celebrities such as Miley Cyrus don the vivid merchandise.
Fini’s voice is strong through her visual style; its brashness, fun and amalgamation of eras. We are sucked into Marina’s ‘melting pot’ of stylistic juxtaposition, vibrancy and symbolism. Psychedelic imagery is consistent such as flower power, yin and yang, hearts, alien heads and pentagrams, but are all used with intention. For instance, ‘Flower Power,’ becomes less of a recognised 60s symbol, but a current symbol for ‘girl power and unity,’ consequently building a ‘flower power’ community. It brings like minded characters together from all over the globe.
The concept of connectivity and technology is persistent in the Artist’s film and photographic works, in exploring the eventuality of merging with the technology that we rely on daily, ‘like cyborgs.’ Fini is looking at the addictive quality of technology ‘as a global disease’ that is becoming embedded within us. Instantaneous information access is becoming a natural necessity and our egos are fed from online interactions via social media platforms. It seems that an online presence is becoming detrimental in finding creative opportunities and collaborations, of self promotion and sharing ideas with kindred personalities; as has been the case with the artistic development of Marina Fini especially in regard to Instagram. ‘As a product of [her] own surroundings,’ Fini looks to ‘comment on [her] own life’ and apply personal speculation. All in all, whilst acknowledging the benefits of social media in promoting positive action worldwide, it is important to recognise and avoid placing value on a person based on their number of followers and likes. Fini takes regular offline breaks to maintain a ‘self worth as an artist’ that isn’t reliant on how many likes received from a post. A piece of advice, every artist/person should remember.
Past experiences also stimulate Fini’s visual narratives in both film and photography, as far back as being on set with her father as a child to dressing up friends or people met online at the age of 20. In photographing ‘real’ people, inspiration comes from their blasé attitudes with ‘a sense of riot in them’ of which trigger something new within Fini. The artist enjoys creating caricature alter personas from her muses of any age such as Baddie Winkle, who does not allow her age to define her behaviour and lives how she wants, ‘one of the best tools for anyone to live by,’ in both Fini’s and our opinion. Her time in Santa Cruz, USA, influenced the production of films Musikill and Tree Temple, over the four years of encountering remarkable characters. The town of an obscure ‘eerie hippie vibe,’ prompted a love of juxtaposing vivid costumes and props with darkness and sobriety. Such as with arts film Tree Temple;
'I wanted to show how a rainbow can be detrimental and almost sadistic in its nature and how everything, even the most colourful objects, have a dark side. I am so fascinated with taking the purity of rainbows and twisting them to be this horrific subject. The natural cycles of life have gradually become virtual due to our day to day reliance, causing us to practically worship our machines.'
Tree Temple is a prime example of film taking on a performative approach as more of an experimental platform for conceptual ideas. They are surreal in content, carry elements of the ritualistic, have a raw/real feel that is uninhibited. We admire her purpose of telling a story rather than flaunting technological crispness or perfection. The viewer becomes a ‘voyeur’ similar to a raw documentary style, of which Fini admires. She creates work to make the mind think and interpret rather than feed the information as instantaneously as we tend to receive it.
For those within the Miami area, look out for Marina Fini’s collaborative installation with artists Signe Pierce, Sierra Manno and Sydney Krause, for renowned Art Basel 2015. The piece, to be based within a Miami motel room, reflects on the relatable nature of art and drug dealing. Acquiring and viewing fine art for that ‘visual fix’ is as capitalistic as the next industry, exclusive to those who can afford to buy. The collective, who share equal adoration of ‘kitsch motifs and the mythos that motels hold,’ will be creating a world of ‘personal vices, sexuality and quick fixes’ in the setting of a motel whilst striving to legitimise their authenticity as an art piece through an established gallery. Fini will be showcasing larger scale plexiglass furniture pieces that enhance the brash air of Miami Motels, which is only the first addition to an ongoing project to develop fully in Los Angeles next year.
Escape to Marina Fini’s technicolour dream world at www.marinafini.com
Feature by Amber Scarlett