Born on 20/04/1977 Emily Beza is a British artist of Romanian parentage. She successfully completed her Masters Degree in Fine Art at Central Saint Martins College of Art and Design in 2003. She has exhibited in such diverse places as the British Embassy in Moscow, Gallery Dream, Seoul in South Korea, The Romanian Cultural Institute in London (Belgrave Square) and The View Two Gallery in Liverpool. Her artworks feature in various Private and Corporate collections in the USA, UK, France, Norway, Romania and more recently Hong Kong.
In the words of the artist:
“I have and continue to inspire myself from walking around. I immerse myself in the dynamic layering and juxtaposition of structure, movement, rhythm, speed, pace, hustle and bustle of various environments. I describe my paintings/drawings as a reactive and visual reiteration of my experience which then transmutes itself onto the canvas/paper as an imagined reality.
Some images with their austere often more formal, linear, (at times) grid-like façade which repress complex thinly rendered, elusive, background washes; tangentially allude to technology-based mediums such as computer-graphics and architecture in their own right.
Works in 2003 developed more fluid, at times frought as well as lyrical references, with a greater sense of dialogue between figure and ground. I will in due course develop this language which already begins to seem potentially explosive.
In my portraits, I emphasise the initial feelings evoked; I also put a little bit of myself in them. They thus become a series of highly complex self-portraits which have evolved in tandem with my emotional experiences in recent years.
The large Cuban Salsa Dancer image springs from the memory of a series of Flamenco dancer mixed media drawings I completed during the second year of my BA. In the past I thought that the figurative references for the dancer drawings were secondary and that my main concern was becoming the process of mark making and their speedy dynamism. The figuration within these images to my mind was merely a pretext. I now think the opposite. I use the dynamic linear mark-making style that I have developed with their vague referrals to linearity within architecture as a means to enhance the poise and intense (almost bionic) monumental stance of the dancers themselves."