In my newest abstract work I consistently create a complex ground in an accumulation of elements on canvas or panel–overloaded acrylic image transfers from found images, often lens based images I’ve collected over month and years. The images I choose to use in a painting, I select intuitively and may reproduce with my scanner or digital camera, print and apply to the canvas face down with a glue of transparent acrylic medium. When dry, I remove the paper surface revealing the ink of the image–these I add to and build to a visual completion, over which I layer transparent and semi-opaque acrylic color, then oil and alkyd color paints that demolish the earlier underlying esthetic, by painting out, covering over partially and adding up to a simplification, in a complex visual texture and depth.
Splash 3 through 7 all have the dimensions, 12 x 12 x 1.5 inches or in centimeters: 30.48 x 30.48 x 3.81 gallery wrap canvas, and are priced at $300.USD each.
The work titled *Splash (earth)* is a drawing in charcoal, graphite, soft pastel, and marker on 17 x 22″ / 44 x 56 cm Cartiera Magnani Velata paper
and is priced $200. USD.
About the Splash series:
My Splash series of paintings began with what I think of as an inverted ritual–in that the tannin-rainwater from the rain soaked bark of a leaning tree in my yard dripped into a vessel I had placed there for other purposes. After the rain stopped, I discovered the vessel contained the light *tea stain* and understood from my study of natural dyes how to make use of it. I collected the tannin water and returned to my studio to pour the liquid onto a paper support surface, over and over–as the water of each poured layer evaporated I collected and poured more, building layers. Then I began to paint the tannin *tea-stained* areas with watercolor paint, acrylic paint glazes, finally adding details with markers.
That was how I came to create the first of the Splash series of paintings. My father was quite ill and then passed away shortly after I painted this first Splash.
When I did return to the Splash painting two years later, it was as a quite different me–unable to recreate my approach. I worked from real tea stain make from store-bought tea bags, and as my forms for my Splash paintings expanded and developed I began to use other art materials, such and acrylic mediums and alkyds, and pour my mixes directly onto stretched canvases. I feel many of my color choices are informed by advertisements –American, Japanese, Chinese–influences from my travel and expatriate years in Asia. Even the central splash form (in black) in *Splash 7* is reminiscent of layered and abstracted Chinese calligraphic characters I also continue to study and work from.
Questions? Please email Marie Kazalia at: email@example.com Serious inquiries only.