Equally embedded in realism and fantasy, the artwork of Sophia Nox reflects the artist’s subjective visions of life, death, nature and the human condition through the encounters of light and shadow, darkness and colour. Often moving between dream and nightmare, the motifs reflect not only a dualistic perception of the world filtered through a lively imagination, but a dedication to the richness of ancient mythology, legend and story-telling.
Sophia Nox was born in Transylvania, Romania, in 1984 and moved to Denmark in 1988 where she grew up in the beautiful and harsh environments of Northern Jutland. She has studied archaeology and art history and worked with several spiritual and occult directions. Beside the heavy influences of Transylvanian and Danish nature, history and art, Sophia Nox’s artwork shows her fascination of folklore, myths and fairy tales deeply rooted in collective human consciousness. Moreover, many of the motifs are inspired by music, film, theatre and literature.
Currently, the main medium is acrylics on canvas, but Sophia Nox has also been working with pen/pencil drawing, watercolour as well as oil. The preferred technique is a chiaroscuro with strong contrasts between light and dark, often accompanied by cascades of strong colour, and the compositions are undulating and organic.
2014 Autumn Exhibition, Jerslev, Denmark
2014 At the Brinks of Reality, Godsbanen, Aarhus, Denmark
2013 Exhibition at Dronninglund Bibliotek, Denmark
Address: Sophia Nox, Hovedgaden 70, 9480 Løkken, Denmark
Telephone: +45 22 74 23 49
Medim: Acrylics on canvas
Size: 20 x 60 cm
The painting February is part of a series of seasonal paintings. It depicts three slightly developed human foetuses floating in a dark void. The foetuses are blueish in colour and attached to lightbulb- like uteruses that seem to glow in the surrounding darkness. The three foetuses are surrounded by more uteruses that haven’t sprouted foetuses yet. All the elements of the painting have a light- weight floating feeling to them, and it looks like they are only kept in place by the thin silver frame surrounding the motif.
The painting plays with the theme of fertility and birth, celebrating the continual emergence of life on both micro and macro scales. While the motif refers to the coming into existence of human beings, the title links to the yearly reoccurring of life in Nature as the first signs of spring start to stir. To the artist, the emergence of life is like a light in the darkness, continually lit, extinguished and relit in a never-ending cycle. Human life – like life in Nature – is not seen as a linear occurrence taking us from birth to death, but as an undefinable circular manifestation of thought, soul and matter. As human beings and as beings inhabiting Mother Earth, we are in a continual process of becoming.