White Bones

I didn’t know my simple idea to layer lots of transparent white paint runs over this  30 x 30 inch canvas would take so long–and it’s only about fifty percent complete. Maybe not even that. But at this stage it has an interesting ease of appearance, as if I had just scribbled that white on very quickly with a few gestures instead of building up the white over time. Daily, and for weeks now, I have poured 3-4 runs of transparent white paint, allowing each to dry before pouring the next. (I also have a 48 x 48 inch canvas ready to try this on, that will have a much darker underpainting).

White Bones, 30 x 30 inches, synthetic polymer and pigment on canvas, 2012, Marie Kazalia
White Bones (Detail), 2012, Marie Kazalia
White Bones (Detail), 2012, Marie Kazalia
White Bones (Detail), 2012, Marie Kazalia
White Bones (Detail), 2012, Marie Kazalia

paintings on deconstructed boxes

Remember when *deconstructed* was the buzz word of the day? I don’t see that word out there so often these days, but it does describe what I have done with the commercial product boxes I used as supports to paint on in the examples below.

I pulled apart, or deconstructed various three-dimensional cartons or product boxes without tearing. Once flattened, I joined two or more boxes together to make a support for painting experiments. There are at least four butter boxes joined in this first example, with most traces of the overall yellow color and deep blue printed lettering painted out. In the various views of the Brillo box painting, transparent paint and unpainted portions incorporate areas of the original box color and lettering into the composition.

Butter box painting #1, mixed media oil painting on paper board, approx. 24 x 14 inches, Marie Kazalia

I am also interested in the different effect the composition has when the form is viewed horizontally.

Butter box painting #1, horizontal, artist Marie Kazalia

Four views of Brillo Box painting:

Brillo box painting #1, mixed media acrylic, approx. 19 x 12 inches, artist Marie Kazalia

Horizontal views present different compositions:

Brillo Box painting #1, artist Marie Kazalia (horizontal view 1)
Brillo Box painting #1,Marie Kazalia, (horizontal view #2)

Inverted vertical view:

Brillo Box painting #1, Marie Kazalia (vertical view #2)

Brillo box painting # 2:

Brillo Box #2, oil pastel and oil paint on printed cardboard Brillo box, Feb 2012, Marie Kazalia

Brillo box painting #3:

Brillo Box 3, acrylic on cardboard printed Brillo box, Feb 2012, Marie Kazalia
Butter box 2, oil paint & oil pastel on printed cardboard, Feb 2012, Marie Kazalia



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.


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

48″ x 48″

Artist: Marie Kazalia


transparency sunset

mixed media on canvas, 48" x 48", Artist: Marie Kazalia, date: May 2010

Transparency sunset” mixed media painting in multiple layers of color–poured acrylics and Flashe artist paints–many of the paints the artist uses she mixes herself from artist grade pigments and mediums. This is a sublime and transcendent piece, contact the artist to purchase: email: Mariekazzaz@embarqmail.com     $5K  USD