Ceramics Fiber Art and Glass
Fe Rius infuses emotional weight on her art by developing physical and expressive tension through the textures, shapes, colors and the materials with which she creates her pieces.
This melding of the common and the spiritual is rooted in the rich life experiences of a true global trotter who, from her childhood in Barcelona was surrounded by art, and driven by the desire to know other cultures. Her transit across 2 continents and through the world of the hospitality industry, social activism, education and the healing arts, has added to the baggage from which Fe draws to materialize her flights of imagination.
Fe arrived in Wilmington in 2015, and currently balances her work as middle school teacher with a budding career as a local artist. A life-long learner, she continues exploring and growing as an artist through a variety of workshops and courses given by professionals in diverse media.
Fe Rius is a member of both, the Wilmington and Leland Arts Associations. She has shown her works at the Cameron Art Museum, Gallery Citrine , the Wilmington's Spring Art (Azalea) Festival and several other prestigious venues in Wilmington and Leland.
Explorations in Light
Inwards and outwards we are creatures of light and darkness.
These antithetical forces seem to defy each other. Yet, they form a cohesive unit that allows us to perceive our environment, regulate our bio rhythms, understand who we are, and grow.
Light gives us a sense of wellbeing, security, and hope. But too much light can be harmful as well.
It is through our interpretation and use of shadow that the contours and details of our existence can be mapped and shaped.
I invite you to pause, observe and play with light.
How much light do you radiate?
ODE TO THE Ancestors Series
Suddenly, all my ancestors are behind me. "Be still" they say, "Watch and listen, you are the result of the love of thousands"
I came across Joomchi by accident, but once I discovered it, I became passionate about the way in which layers of different papers and fibers, scrunched and beaten again and again create a material with a life of its own. Within Joomchi papers, you can perceive the echoes of their origins like ghostly images. Their colors are muted, the shapes distorted. But far from diminishing, the harsh treatment distills their inner beauty, depth and resilience. It was these characteristics that inspired me to create the Ancestors series.
We are our own people, and we seldom know much about those who came before us, but blended within our genes are the footprints of their love and struggles. We are part of a human continuum that peeks across the small and large cracks of our cultural heritage and, passing through us, propels itself on to the future. Each of the pieces in this series has a motif that pays homage to those forged by the fires of Life. The pedestals I used, belonged to a now defunct company which used them as molds to make boat parts. Reference numbers for the correct configurations can still be vaguely seen on the distressed wood. Thus, I felt they'd be good companions on the new roads that await them.
Our perception of time is at the very least, highly subjective. We are obsessed with time. We don't want to lose it. Yet, we let it slip through our fingers. We live in perpetual contradiction with regards to time. We are constantly running against it, but yearn for "old times" as we hope for the future to favor us. Some say that past and future don't exist, that the only reality is the "now", while others say the present is an illusion because as soon as we become aware of it, the moment has already passed. This series symbolically explores the complexity of our relationship with time, through the interplay of colors, textures and materials. It reflects the variegated ways in which all our lives are interwoven by way of tension and cooperation to create a beautifully fragile but harmonious whole.
Mirrors have been central to every aspect of human life since ancient history and continue to revolutionize how we see ourselves. My mirrors aim to expand and deepen this connection by surrounding the glass with a menagerie of shapes, colors, textures and materials that echo the complex context in which we display our true natures. The process transmutes the otherwise utilitarian object into an artistic medium for the expression of creativity and emotions.
Each mirror makes a unique statement, not only because each piece on which the frames are set is in itself the product of an adventure in sourcing; I work with an improvisational mode, and soon after inception, the work seems to take a life of its own. I establish a dialog that dictates whether to use a smooth river rock, or a fragment of pottery reclaimed from a trash bin, a piece of stained glass, a shell from a favorite distant beach, or brass object collected during an afternoon of deep fishing in a neighborhood flea market. Occasionally, in mid process, the void of a shape stands out and off I go, to the pottery studio, to create the glazed shape that will fit just that special place.With this limitless reinterpretation of a domestic object, I challenge preconceived ideas of the mundane, inviting the onlooker to pause in his or her indulgent contemplation of the self; to muse, even if in brief passing, the story offered by the shards of life which surround us.