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Media - Mixed Media on Canvas, Paper, Panel
Email - [email protected]
Website - http://MarieKazalia.com
I am a USA born artist working with the possibilities of paint layers and poured paints on my
supports of canvas, panel and papers-- such layering, poured painting, and stain painting is
also know as Process Painting. The formal possibilities of my use of color layers and tones,
variety of paints and the resulting surface texture are achieved by varying the paint flow,
paint run overlaps, and by creating flow interference, splash and splatter.
I have an interest in the possibilities of both maintaining and breaking the hard edge.
Close-up gives the vantage point of the pleasure of the painterly poured paint run
intermingled with elements of patterning and the finer details of applied image transfers and
Asemic writing built up on my support in a dense bricolage.
Asemic writing consists of language-like marks unreadable as writing so as to straddle the
line between the visual and the textual. My Asemic writing is informed by my formal language
studies of Mandarin Chinese at the Chinese University of Hong Kong, China, and language
studies at private language schools in Tokyo, Japan and in India. My stronger American
influences on my Asemic writing reference everyday product package lettering past and present.
My high contrast mixed use of Day-Glo to earth color compositions are responses to Asian and
American use of color from ancient to recent Pop aesthetics. Color influences of Japan, India
and China and the forms of the written characters of the languages of those countries, as well
as those elements in other Asian countries I visited--Thailand, Malaysia, Singapore, Taiwan
and South Korea--reemerge in newly abstracted and combined forms. Translucent and transparent
overlays of color contain the opacity of the drawn stroke. In some of my paintings I work with
my collection of large handmade Chinese calligraphy brushes.
I abstract written language characters, cut up, juxtapose, and layer fragmented language
signs together visually,--sometimes over, sometimes under poured paint, or sandwiched between
the layers of my surfaces. In the image transfer elements of my paintings, I incorporate my
own drawings photographically reproduced and printed on paper multiple times. Incorporating
too, images from my camera--including outdoor night photography shots, and vintage b & w
films I shoot capturing both the individual film frames and the overlapped combined images
within frame transitions for use as image transfers. I also collect "found images"
and have used images in my paintings that I\'ve held on to for 7-8 or more years, printed to
paper and used as acrylic image transfers on my supports. Subject matter for my image
transfers tend to center around vintage film, holiday and other social symbols and
iconography, and commercial product packaging.
My daily painting practice yields surprisingly varied results per canvas or composition
within the repetition of these techniques and recurring interests of form. Each painting
contains traces of what is significant to me, the artist, --my personal progress, growth,
shifts, changes, expansions, forward motion, accumulation of thought and work, day upon day,
contained within the layers of my paintings, as form, color and texture merge in the
spirituality of my abstract painting practice that proceeds from the context of ideas, beliefs
and emotions.
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