New painting using matte oil paint technique

astir, Marie Kazalia, January 2015, oil paint, fluorescent acrylic on Coventry Rag fine art paper, 23 x 30 inches
astir, Marie Kazalia, January 2015, oil paint, fluorescent acrylic on Coventry Rag fine art paper, 23 x 30 inches

In my latest painting, titled astir, I employed a chromatic black matte oil paint on a ground of a painted pattern of fluorescent green and fluorescent red acrylic paint. (Fluorescent paint is difficult to photograph and appears different in the photo than it does to the eye).

A couple of years ago, I watched the MoMA video (below) on how to make oil paint matte.  The technique remained in my thoughts. Then I watched the video again very recently and tried the technique.

(Usually, when I’m bothered by the shiny gloss of oil paint on my paintings I simply spray them with a matte varnish when they are dry enough.)

But this time I  made matte oil paint in my studio–first, I added oil paint (a mix of ultramarine + raw umber = chromatic black) to a jar along with a lot of turpentine, put the lid on and shook it up.  Then I allowed the jar to rest overnight so the paint would settle. The next day I poured off the turpentine floating on top and then worked with the oil paint sentiment that remained.

This matte oil paint method is a signature technique of Abstract Expressionist painter Ad Reinhardt, as demonstrated in the five-minute MoMA video AB EX NY: The Painting Techniques of Ad Reinhardt: Abstract Painting, posted below for you to watch if you are interested in this technique for removing the gloss from oil paint.

Screen Shot 2015-01-09 at 12.52.21 PM

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What I’ve been working on

I’m back working with transparent white again. Transparent white layering is something I never leave for long, and have worked with since around 2008.

Integrant 1, Marie Kazalia, July 2013
Integrant 1, Marie Kazalia, July 2013
Integrant 1 (horizontal view), Marie Kazalia, July 2013
Integrant 1 (horizontal view), Marie Kazalia, July 2013

And I tried some transparent white over Asemic paintings on paper–here’s an example:

Asemic Form, Marie Kazalia
Asemic Form (horizontal), Marie Kazalia

6 New –Mixed Media Paintings on Paper

Here are images of 6 paintings that I recently completed –all mixed media on Lennox fine art paper 22 x 30 inches. The mixed media includes ink, charcoal, pencil, Flashe, synthetic polymer and pigment, and (in some cases)oil paint.

Since I do have a lot of visual ideas all the time, and stacks of thumbnail sketches of my ideas I’ve drawn on paper, I have plenty I’d like to paint to 22 x 30 inches or larger.  I’ve also been using a sketchbook app in my iPad and have created 500 iPad color sketches since I first got the app in April. So I’m making approximately 50 color idea sketches per week in my iPad.  My ideas are piling up!

Here are 6 that I recently painted –all mixed media on Lennox fine art paper 22 x 30 inches. The mixed media includes ink, charcoal, pencil, Flashe, synthetic polymer and pigment, and oil paint.

darg, mixed media painting on Lennox fine art paper 22 x 30 inches, Marie Kazalia, May 2013
darg, mixed media painting on Lennox fine art paper 22 x 30 inches, Marie Kazalia, May 2013
Moscoso dream, mixed media painting on Lennox fine art paper 22 x 30 inches, Marie Kazalia, May 2013
Moscoso dream, mixed media painting on Lennox fine art paper 22 x 30 inches, Marie Kazalia, May 2013
Spots 5, Marie Kazalia, May 2013, mixed media on Lennox fine art paper
Spots 5, Marie Kazalia, May 2013, mixed media painting on Lennox fine art paper
Talking in Circles 5, Marie Kazalia, May 2013, mixed media on Lennox fine art paper, 22 x 30 inches
Talking in Circles 5, Marie Kazalia, May 2013, mixed media on Lennox fine art paper, 22 x 30 inches
Lean 1, Marie Kazalia, May 2013, mixed media painting on Lennox fine art paper 22 x 30 inches
Lean 1, Marie Kazalia, May 2013, mixed media painting on Lennox fine art paper 22 x 30 inches
Candied, Marie Kazalia, May 2013, mixed media painting on Lennox fine art paper 22 x 30 inches
Candied, Marie Kazalia, May 2013, mixed media painting on Lennox fine art paper 22 x 30 inches

Spots: Breaking The Pattern

In 2011, I worked on my series of small poured-paint pieces on panel and canvas. The criss-crossing paint runs reminded me of a plaid–plaid gone wild and on the loose–so I titled the pieces Abstract Plaid 1,2 etc.

This summer I’m working with spots. The thing is, spots, much like plaids, generally exist in tight orderly patterns. Breaking those patterns for a new look is my general goal for each of these spot pieces.

I also made a couple of spot pieces in the summer of 2010, and I’ve included them here. Along with completed work, I am also including idea sketches. Most are on paper, and the materials I am using are synthetic polymer and pigment, inks, and artist oil paints and spray paints.

For me, this spot series touches on several levels and themes I am interested in exploring, such as, repressed memory that resurfaces, imperfect recall, re-interpreted memory, embellished memories, remixed memories, breaking patterns, subverting the repeating pattern, hardedge/soft edge.

I noticed just now that I wrote *repressed memory* rather than *surpressed memory*–I’m not referring to any negative and difficult experiences, but rather I am interested in the color, sights, visuals, advertisements, billboards, signs, wallpaper etc that I have viewed from early childhood onward. Those visual memories remain within and emerge.

repressed memory resurfaced(wallpaper & signs from childhood), 22 x 30, Marie Kazalia, 2012
Detail–I wanted this paint run to look like a melted hot fudge sundae and also reference the Sherwin-William *we cover the earth* sign
spray spot splash, 2010, Marie Kazalia
spray spot splash silver, 2010, Marie Kazalia
subsystem 3, 2012, Marie Kazalia
dragon, 22 x 30 inches, Marie Kazalia, 2012
plaid spot sketch, 22 x 30 inches, Marie Kazalia, Nov/Dec 2011
deconstruction spray spots, Marie Kazalia, 2012
small spot sketch 1, Marie Kazalia, 2012
small spot sketch 2, Marie Kazalia, 2012

Resistance

Resistance, artist: Marie Kazalia, email the artist: mariekazzaz@embarqmail.com

The title, Resistance, refers to the painting techniques used–which are the Process Painting techniques of layers, stain and poured paint. The silver acrylic paint layer (over yellow and texture on canvas) acts as a resist to the watery splashed on dark paint stain, so that it does not 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. The artist mixes much of her own paint using painting mediums and dry pigments. In this case, the artist mixed silver aluminum powder into an artist grade acrylic medium as the pigment binder, to create the silver paint used in this painting.

Resistence

mixed media on stretched canvas (acrylic, Flashe on canvas)

48″ x 48″

Artist: Marie Kazalia

$5,000.USD