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Marie Kazalia

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Erector Set, Jan-Feb 2013 Mixed Media on Lennox Fine Art Paper 22 X 30 Inches © Marie Kazalia
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Dialtone (red), March 2013 Mixed Media Painting on Lennox Fine Art Paper 22 X 30 Inches © Marie Kazalia
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BOA, Jan 2013 MM Painting on Lennox Fine Art Paper 22 X 30 © Marie Kazalia
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Silver Asemic Spots, 2011 Mixed Media Painting on Thai Mulberry Paper 24 X 34 © Marie Kazalia
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Hun Tun, April 2013 MM on Lennox Fine Art Paper 22 X 30 © Marie Kazalia
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REN 2, March 2012 Mixed Media Painting on Lennox Fine Art Paper 22 X 30 Inches © Marie Kazalia
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Blowball, October 2012 Mixed Media Painting on Coventry Rag Fine Art Paper 22 X 30 Inches © Marie Kazalia
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Seeds of Light, March 2013 Mixed Media Painting on Lennox Fine Art Paper 22 X 30 Inches © Marie Kazalia
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Blue Rice Cracker, 2012 Oil Painting on Panel 24 X 24 © Marie Kazalia
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Repressed Memory Wallpaper, Nov 2012 Mixed Media Painting on Coventry Rag Fine Art Paper 22 30 Inches © Marie Kazalia
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DUZ, Jan 2013 MM on Lennox Fine Art Paper 22 X 30 Inches © Marie Kazalia
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transparency sunset, May 2010 Mixed Media on Canvas: Acrylic, Ink Transfers on Canvas 48 X 48 X 1.5 Inches © Marie Kazalia
Resistence
Resistance, July 2010 Mixed Media on Canvas: 48 X 48 X 1.5 Inches © Marie Kazalia
Bricolageps
bricolage remix personality compass, 2010 Mixed Media on Canvas: Acrylic, Graphite Powder, Ink Transfers(on Canvas on Aluminum Stretcher Bars) 48 X 48 Inches © Marie Kazalia
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Rainbow X, June 2010 Mixed Media on Canvas: Acrylic, Flashe on Canvas 48 X 48 X 1.5 Inches © Marie Kazalia
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kanji tag, June 2010 Mixed Media on Canvas: Acrylic, Ink Transfers on Canvas 48 X 48 X 1.5 Inches © Marie Kazalia
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Titania (satellite of Uranus), August 2009 Mixed Media on Canvas 36 X 36 X 1.5 Inches © Marie Kazalia
Nite_lite
nite lite, Nov 2009 Mixed Media on Canvas: Acrylic, Ink Transfers on Canvas 30 X 30 X 1.5 Inches © Marie Kazalia
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yellow CAMO, 2010 Mixed Media : Flashe, Acrylic on Wood Panel (cradled) 22 X 10 X 1.5 Inches © Marie Kazalia
Tropicaleastersuit
tropical Easter suit, December 2009 Mixed Media on Canvas 30 X 30 X 1.5”/h. 76.2 X W. 76.2 X D. 3.8 Cm © Marie Kazalia
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Not a Bone, 2009 Mixed Media on Canvas H. 30 X W. 30 X D. 1.5 Inches / H. 76.2 X W. 76.2 X D. 3.8 Cm © Marie Kazalia
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splash pattern teal, June 2010 Mixed Media on Panel:acrylic, Flashe 36 X 18 X 1 Inches © Marie Kazalia
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splash pattern magenta, July 2010 Acrylic and Flashe on Hardboard Panel 36 X 18 X 1 Inches © Marie Kazalia
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Splash Camo gold, September 2010 Mixed Media on Handmade Thai Paper 22 X 31 X 0 Inches © Marie Kazalia
Splashcamo5
Splash Camo 5, August 2010 Mixed Media : Flashe, Acrylic on Wood Panel (cradled) 22 X 10 X 1.5 Inches © Marie Kazalia
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Whirlygig, Nov 2012 Mixed Media Painting on Paper 30 X 22 X .05 Inches © Marie Kazalia
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Erector Set, Dec 2012 Mixed Media Painting on Paper 30 X 22 X .05 Inches © Marie Kazalia
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Dialtone (red), Jan-Feb 2013 Mixed Media on Lennox Fine Art Paper 30 X 22 X .05 Inches © Marie Kazalia
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Quick Facts
Birthplace
Toledo, Ohio, USA
Schools
California College of the Arts
Representing galleries
GreenBox Art + Culture
Tags
American artist, pattern painting, spots, dots, multicolor, multi-layered, colorful, process painting, canvas, acrylic, mixed-media, modern, abstract
Statement

Currently exhibiting at the Hotel des Arts, 447 Bush Street, San Francisco, CA 94108

curated painting exhibit, by curator Leo Madrid of S.C.R.E.A.MInc http://www.ScreamInc.net

 

I am a USA born artist (BFA, California College of Arts) working most often on canvas, paper and panel, with the multiple possibilities of poured paints (aka Process painting). The formal possibilities of my use of color layers and tones, different artist paints and the resulting surface texture are achieved by varying the paint flow, paint run overlaps, and by providing flow interference. The paint runs take form in layering and surface patterns.  My art school textile design coursework influences remain in the recurring patterning in my paintings. Close-up gives the vantage point of the pleasure of the painterly poured paint run intermingled with my elements of patterning, Asemic writing and acrylic image transfers, often resulting in a combined realism and abstraction built up on my support in a dense bricolage. Asemic writing consists of written language forms that are reminiscent of written language characters yet are unreadable as writing, thus straddling the line between the visual and the textual. My Asemic writing is informed by my formal language studies of written and conversational Mandarin Chinese at the Chinese University of Hong Kong, China, and from language studies and expatriate living in Tokyo, Japan and in India, also often referencing everyday product package lettering as well. My high contrast mixed use of Day-Glo to earth color compositions are, in some instances, responses to the Japanese use of color from ancient to recent Pop aesthetics. Color influences of Japan, India and China and the forms of the written characters of the languages of these countries, as well those elements in  other Asian countries I visited for shorter periods--Thailand, Malaysia, Singapore, Taiwan and South Korea--reemerge in newly abstracted and combined forms, in conjunction with English typefaces of my native language.  Translucent and transparent  overlays of color contain the opacity of the drawn stroke. Working with written characters, cutting up, abstracting, juxtaposing Asian language characters and signs together visually,--sometimes over, sometimes under poured paint, or even sandwiched between layers. I will also often incorporate  images from my camera printed and used as acrylic image transfers. Other  images on paper that I’ve collected and held on to for 7-8 or more years, some more recently found, become  my high contrast image transfers. Often I will make still images with my camera while watching vintage b & w films capturing individual frames or overlapping and combined images within frame transitions. My subject matter imagery for these acrylic image transfers tends to center around vintage film,  holiday symbols/iconography, and commercial product packaging. Resulting in surprisingly varied results per canvas with the repetition of these techniques and recurring interests of form. Each canvas contains traces of what is significant to me, the artist. My personal progress, growth, shift, changes, expansions, forward motion, accumulation of thought and work day upon day at various levels, and contained within the layers of the paintings, as idea and form merge with the spirituality of practice.