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

Painting on Paper (crook crux)

It is amazing how one painting on paper, set aside for many months, suddenly returns to my thoughts and becomes important to my developing process.

My painting on paper (below) is 22 x 30 inches which I signed and dated on the back: October 2010. I put it away after painting it (for a year and a half) and haven’t looked at it again until today. (But I have been thinking about it for the past few days but couldn’t remember where I put it!) While working in my studio, this painting on paper suddenly became important to my process.  Somehow I just know that I needed to look at this painting again to develop a current idea I am working on for a new painting.

There seems to be a connection to this note I also found recently. It is a quote I’d scrawled on a scrap of paper 1 or 2 years ago–I don’t know the origin: * choose a way of working—–that must be solved before important work can be done.  It is a long and complicated task for any painter to find her personal  voice and keep it intact and natural.*

crook crux, Oct 2010, mixed media on paper, 22 x 30 inches, Marie Kazalia

ArtRegards eCards of My Art

ArtRegards, based in Switzerland, curated me onto their site. I posted several images of my art for anyone using the site to send out on e-cards. Each time someone uses my art on an e-card, I receive a royalty payment.  Several of my art images are now available to send on an e-card on ArtRegards.

Splash spot, painting on Thai paper, 21 x 30 inches, Marie Kazalia

American Flat Newsletter Introducing My Paintings As Prints On Canvas

Introducing Abstract Art by Marie Kazalia

Americanflat is proud to introduce artwork by our newest artist Marie Kazalia.  Marie’s work engages with written aspects of world cultures such as combined, fragmented, enlarged and abstracted character forms. The techniques she uses involve paint layering, poured paints, stain painting and all the possibilities that these processes open up.  Major influences on Marie Kazalia’s art include four years as an expatriate in Asia (primarily Japan, India and China) and the formal language studies she undertook there, including writing Chinese and Japanese language characters.  Each of her paintings contains traces of what is significant to the artist — personal progress, growth, shifts, changes, expansions and forward motion.  All this accumulation of thought and work, day upon day, is contained within the layers of Marie’s paintings, as form, color and texture merge in the spirituality of her abstract paintings.

Marie’s work is in permanent collection of:
– Museum of Modern Art, NY
– Museum of Modern Art, Wales
– Museu Brasileiro da Escultura, Sao Paolo, Brazil

Rainbow X
Marie Kazalia
Edition of 100
36″ x 36″, $250
Nite Lite
Marie Kazalia
Edition of 100
36″ x 36″, $250

Drawing on Painted Surfaces

Layering can include drawing on your painted surfaces using drawing materials including oil pastels and oil sticks. The drawn elements may contract with the painted ground of complete and compliment it. The drawn lines may be transparent, light and delicate with the ground dominating, or thick and heavy like the kind made using oil stick colors.

Kanji Splash 8, 22 x 30 inches, mixed media on paper by Marie Kazalia
Compartments 1, 22 x 30, oil stick on painting acrylic surface on paper, Marie Kazalia
Compartmental Form 2, 22 x 30, oil stick over acrylic, Marie Kazalia

Below: almost none of the acrylic painted ground is visible under the oil paint and oil stick drawing

Compartmental Form 2, 22 x 30, oil paint and oil stick over acrylic ground on paper, by Marie Kazalia

Below, the painted surface pattern before drawing on it with oil pastel

then I drew on this pattern painted surface with oil pastels, intending to keep the lines less intense and allowing the ground to dominate

Repeating Form 7,29 x 26 inches, oil pastel over acrylic on paper, by 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


Painting in the Round

In 2008, I experimented with round mold-formed watercolor paper. This paper is 15 1/2 inches across, heavily sized, has slightly irregular edges and is quite thick and stiff.

Here are two:

Veils, mixed media on round formed paper, 15-1/2 inches in diameter, by Marie Kazalia, 2008
Petals, mixed media on round mold-formed paper, 15-1/2 inches in diameter, by Marie Kazalia, 2008

All artworks on this site may be purchased directly from the artist via PayPal invoice. Contact Marie Kazalia by email:

The round painting titled Veils may be purchased on the Zatista site here, and the painting titled Petals here. Both round paintings are also in my ArtWeb portfolio.


Resistance, artist: Marie Kazalia, email the artist:

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:     $5K  USD