My paintings walk a line between the real world and a world shaped by emotional perceptions. Utilizing imagery and ideologies drawn from The Woman’s Land Army and women’s separatist communities, I create constructed communities that exist in a collapsed and unknown time, neither past nor future, but somehow both. While I attempt to address the space in which perceptual reality and the realm of imagination converge, the women in my paintings tether the viewer to the physical realm. The strange and otherworldly scenes depicted in my paintings are held together by women who navigate, fix, and pull together the landscape that surrounds them; they pull their worlds together with string and mold mountains with their bare hands. Often their tasks seem uncertain, ambiguous, or even futile, but these women anchor the viewer to a world that is wrought with uncertainty. I speak from a place of vulnerability with my paintings, with figures attempting to ground themselves in an ephemeral world.
Those faces on the the ancient Grecian urns speak to me, almost hauntingly. They tell me about life, strife, feelings. We have a connection as human beings on this earth. The two to three thousand years in between is superfluous. I find my experience in their faces. I see joy, anger, love, resentment, fear, pride, jealousy, warmth, kindness, hope, an endless stream of all we hold inside and out. I find my inner landscape in them and they help me embrace and express that which invades me in the present.My work developed from a desire to reconnect with my early ancestry. A place, a time, a human spirit considered related to me – a heritage. Profiles gracefully moving around those attic ware vases got me involved with the stories they told. The results reflect a modern view of something old and vaguely familiar. Not an attempt to recreate the past, but to pay respect to its aesthetic wealth by giving it new life.
I approach the collage as a painting not a mere assembly of pictures. As I collect materials, they seem to connect individually or in groups and from those materials, I begin to see an interaction in space and form, arranging colors and shapes. Each added element will build on the previous one by changing, adding, or even result in eliminating the other components. A successful collage requires a high degree of discrimination if collage is not to degenerate into mere decoration, cliches, or a gaudy assembly of meaningless material. What you remove is as important as what you put into the composition. I use hand cut pieces, color paper, along with transferred or print images, transfer rubbings, airbrush, gouache, pastel, gold leaf, and acrylic paint.
Light and shadow always make the photographs that look more interesting and dynamic dimension. As our eyes still catch up the lighting part because the shadow helps the lighting one become to be outstanding on the image. Also, the beauty of graphic design on the different buildings.
Drawing is a basic form present in all cultures, both ancient and modern. The anthropomorphic characteristics found in landscapes are my inspirations. I look for signs in nature that might indicate something about the present, past future. Then I refashion these elements according to my thoughts or state of mind.
Jessica Alazraki’s figurative portraits convey everyday stories of colorful characters. These are confronting the viewer, without interacting with each other, instead submerged in their own personal psyche. The narratives are based in ordinary and familiar scenes. The strong presence of primitive and naïve style connects the works to folklore elements and Mexican crafts. Composition and color are prominent in the paintings, as the artist opts for the placement of the elements versus the realistic quality of the form. Laws of perspectives and anatomy are altered thus creating distortions and exaggerations and ultimately prioritizing emotion over objective reality. Humor, nostalgia, patterns and decorative elements play an important role in the compositions. Within the representational figures, abstracted forms appear. This subtle abstraction brings forth the social condition of the Latino, both defined and abstracted in the US.
Though quite different visually, Mossman’s decidedly post-minimalist sculpture and maximalist painting (though both quite painterly) share an emphasis on relationships formal and contextual. In his 3D work, his architecturally-influenced forms, flavored by trips to Asia (China, Japan and Tibet) and Europe as well as a passion for pre-gothic and early modernist forms (Corbusier, Loos and Wright) comment on the creation and purpose of sculpture and its relationship to architectural forms in a space and other objects (security alarms, hand dryers, heating and cooling units) that inhabit a space.
For over three decades, I have found myself encountering traditional boundaries of making prints, and working past them. I use cast paper to create a dimensional and tactile graphic experience for the viewer. Creating images that pop off the surface of the art and come alive to the viewer keeps me experimenting with this casting process. Much of the work is created by building up levels of deeply carved woodblocks that fit together like pieces of a puzzle. The levels are inked up, pieced together, and act as molds for the dyed pulp which I apply to the surface. Other prints are often embedded into the pulp during casting. The result is a print in relief, with rich colors and textures embedded within its dimensional surface.
This series of tintype landscapes features plants and water in glass enclosures, an in-studio exploration of landscape. The ambiguous scale and other-worldliness of the aquarium combines with the rich strangeness of tintype to create an uncannily glowing atmosphere.