I’ll be adding more art to my ArtFinder store–here is the link https://www.artfinder.com/artist/marie-kazalia/
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.*
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.
Below: almost none of the acrylic painted ground is visible under the oil paint and oil stick drawing
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
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.
I am also interested in the different effect the composition has when the form is viewed horizontally.
Four views of Brillo Box painting:
Horizontal views present different compositions:
Inverted vertical view:
Brillo box painting # 2:
Brillo box painting #3:
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:
All artworks on this site may be purchased directly from the artist via PayPal invoice. Contact Marie Kazalia by email: MarieKazalia@gmail.com
The co-founder of ArtLA, Heidi Seidner who is also Gallery Director of the Santa Monica California, James Gray Gallery, selected my Gold painting on Thai paper piece for the curated ArtLA site.