Bea Bonafini

The Battle of Dovetail II, 2017

Wool, nylon and propylene carpet inlay

350 × 300 cm


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Artwork
Description

The Battle of Dovetail II is the first of Bea Bonafini inlaid carpet-tapestries, which she originally created for the Chapel of the Zabludowicz Collection in London (2017). The artwork was inspired by the marble inlays and carvings on the floors the artist saw at the Duomo di Siena during an artistic residency in Tuscany: these spectacular floors create optical illusions and narrate various stories, either biblical or related to the town’s history. Bonafini’s attention was captured in particular by one battle scene, which had been abstracted as footfall over the centuries slowly eroded details away. It had transformed into a very different artwork, where figuration and abstraction interlaced and it fell to the viewer to interpret and give meaning to the images.

Just like her source of inspiration, Bea Bonafini’s carpet tapestry is meant to be walked, and felt under one’s feet. Shattering the boundary between artwork and observer, The Battle of Dovetail is reminiscent of a domestic setting, welcoming the audience with its warmth and softness. As the visitor moves through the artwork, however, the figurative details click together and a scene of violence and war starts unfolding, casting into doubt the feeling of nurture that had previously arisen.

About
the artist

Bea Bonafini (b. 1990, Bonn, Germany) is an Italian, London-based artist working with multiple media. She graduated from The Slade School of Fine Art in 2014, after which she received the Slade Prize and went on to complete an MA in Painting at Royal College of Arts. In 2017, she was featured in a solo show at the leading London institution, Zabludowicz Collection, as part of their acclaimed exhibition series Zabludowicz Collection Invites. In 2022 her work was shown in solo shows at Setareh in Berlin and at LAAA in Mexico City.

Bea Bonafini is a sculptor, textile and multimedia artist whose installations combine craftsmanship, functionality and aesthetic. She has been likened to an architect due to her command of how a space is received. The artist is fascinated by environments and their formal and conceptual conventions and celebrates how spaces bring people together. Therefore, she often works with holistic spaces and explores them by subverting their social, cultural and religious connotations.

Bonafini creates immersive environments that influence the viewer’s relation to the space and others within it and is interested in how different proximities effect how her artworks relate to one another. Inlaid carpet artworks and quasi-domestic objects test the notion of comfort: decorative surfaces, layers of history and a subtle command of the Art Décor palette subvert otherwise welcoming spaces and are experienced instead as consuming and uneasy. Her works often teeter on the boundaries between playfulness and antiquity, domestic and sacred, and softness and conflict; the juxtapositions in themselves portraying the latter. The play on domesticity, enhanced by warm and gentle colours, draws the viewer in, thereby creating a sense of familiarity that is simultaneously undermined by the absurdity of the artworks whose functionality is compromised. Seemingly domestic objects are instead signs and symbols of larger systems of faith or power.

While her artworks are closely related to the practice of painting, and indeed her carpets bear close resemblance to her paintings that have similar intersecting, weaving segments, much of her work extends beyond the limitations of a canvas or a frame. The presentation and display of her artworks have always been very important to Bonafini, as this affects their reception and immersive potential. For this reason, the dimensions of the works are carefully calculated, often relating directly to the space in which they are exhibited.

Bea Bonafini wants the artwork to be experienced in its entirety; she encourages viewers to explore her carpet-tapestries with their feet, and enjoys the observational advantages offered by the vastness of a carpet. As much as the viewer is affected by the artwork, the works are affected by the viewers, whose feet slowly erode and change the carpets. Therefore, an intimate and continuous relationship between person and object is produced.


Bonafini creates immersive environments that influence the viewer’s relation to the space and others within it and is interested in how different proximities effect how her artworks relate to one another.


Bea Bonafini
on Artuner

Part of the
exhibition

October 12th, 2019 until
October 30th, 2019
Curated by ARTUNER