Abstraction & Surrealism

Timotei’s early work shows the emergence of tonal drawing. There exists side by side with the language of lines the language based not upon lines but on the juxtaposition of relatives values.

Leonardo Da Vinci’s (œuvre magistrale) influence – while studying at the LDM art school in Florence- was a pivotal figure in the emergence of tonal drawing, exploring what the eye actually saw, about light and shadow and the mitigating effects of atmosphere and distance. In tonal drawing the eye retreats from the edge of things and sees patches of light and shades. While linear drawing favors’ boundaries, tonal drawing aims at dissolving these boundaries and stressing the quality of light and atmosphere, that unites all object in the visual field. Tonal drawing privileges seeing over knowing. Tonal drawing because of its emphasis on seeing leaves you open to the unexpectedness of the visual world to the unpredictable. It is an emotional, immediate way of seeing. Tonal drawing is a language that has a history and a lineage, and many contemporary artists find its distinctive voice captivating.

Timotei three-dimensional monochromatic charcoal drawings raised to the highest level, on large canvass, are magnificent vehicles for form, movement, and rhythm. She sourced inspiration in a non Western Art and surrealist abstraction integration found in African Art aesthetic and echoed in Henry Moore’s sculpture.