Painting series to completion
Painting series to completion
Artist seeks support to complete Process Painting painting series
Artist seeks support to complete Process Painting painting series Read more
Hello art lovers and creatives. This project is to fund artist and her painting series.
Marie Kazalia is at work on a series of paintings in which she employs the techniques of Process Painting, which are, resist painting, stain painting, layering, and poured paint painting as the driving force within the concept.
Via her Process Painting: Poured Paint Asemic Writing series on stretched canvas
she creates paintings in layers of poured paint runs, Asemic writing and stain painting in a new approach, uniquely the artist’s own--the watery paint stains dry on the surface paint film, rather than soak into the canvas as in traditional stain painting. The stain layer of watery paint bleeds out to break from the confines of the hardedge forms based on military camouflage patterns and abstracted Asian language characters in forms reminiscent of writing= Asemic writing.
The Art making process often sets up the unique situation of taking months and even years to complete a body of art work ready to exhibit and sell.
The artist, is up daily before dawn, 7 days a week, at work in her studio home until after dark working on paintings, painting preparation, clean up, constructing wood canvas stretchers to then stretch with canvas stapled to the wood framework.
The painting built up in layers upon layers of paint over an extended period of time and drying periods. Mixing most of her own artist paints using artist grade pigments and acrylic mediums to produce colors not readily available on art store shelves, also save money and time. This series of paintings when complete will be the series of 15 paintings, 48" x 48" square. Shipping them to a gallery for exhibition in possible gallery spaces in Cleveland, Pittsburgh, San Francisco, New York, not yet confirmed Also, would like to show at least one piece in local community gallery.
Mare's studio home is in a remote rural area (surrounded by Amish communities) and I have no support or studio assistance locally. (I do own my studio home complete, with no mortgage payments). It is a distance of more than 30 miles, and 30 miles return trip to purchase limited availability art supplies, so I must have most art materials shipped to me, which often includes a rural delivery surcharge.
Marie Kazalia is currently exhibiting paintings in a group painting exhibit at the Hotel des Arts , 447 Bush Street, San Francisco, CA, 94108. The Hotel des Arts is one of the top ten Art Hotels in the USA.
"Your work is powerful in person!" curator of Hotel des Arts commented upon unpacking the paintings shipped there--his comment sent in an email.
His link: http://www.ScreamInc.net
Sponsors kept up to date on the progress of the painting series with regular updates
and videos posted to the artist's blog: http://MarieKazalia.com
Call Marie or chat on Skype about the painting project: Skype ID: MarieKazalia
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.
- (40 days)