The Unexpected Movement of Painting

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Mazie Browne

The Unexpected Movement of Painting

Mazie Browne 0752 8933 272 maziekatebrowne@gmail.com mazieart.weebly.com

The artists work topples between painting and sculpture, blurring the definitions of both. Subject to its environment the work is in a constant state of flux. Simply laid on the gallery floor the fragmented paintings are like a river, ‘You can never step into the same one twice.’ – (Heraclitus).

Once, the desolate and sand-like scape the viewer encounters existed as more than one hundred of the artists paintings. Through a vigourous process of manually scraping the layers of paint away, the artist has given birth to an intriguing new perspective on a painted landscape.

The very presence of a viewer alters the delicate fragments, which respond to the slightest movement. At its most fundamental the works are but an observation of the temporality of existence. Innately, there is both a destructive and creative force at work. There is a tension born between a ruthless yet delicate aggression. For Mazie, constructing, deconstructing and reconstructing are crucial to the production of her art, she has no interest in endings. Each of the works she shows has existed in another time and form and are constantly changing.

In the studio the artist confronts a number of different concepts and techniques to address creating a painting, drawing from a number of historical traditions- from Action paintings, Colour Field painting, Abstract Expressionism, Deconstructivism, Street Graffiti, through to the monks rituals of the Mandala. One of the re-occurring formal concerns relates to how such creative processes affect the psyche and wellbeing of the creator.

The work also touches proactively on the malleability and potential of ‘painting’ for a century the question of ‘Is painting dead?’ has resonated within the art world. Drawing on a long history of abolishing the confinements of the picture plane, the artists claims the title of a creative re-constructivist, acknowledging historical tradition, but bending the limits. Using the potential of temporality as an asset for expansion. Thus the identity of painting is questioned.

The artist avoids loading her work with meaning as meaning itself is ambiguous. Meaning is related to humanities constructed understanding of language and symbols, which are transient and subject to change through the continual movement of cultural understanding and development through time.

Similarly the paintings she produces simply come in and out of existence and like meaning they move and change in the process.

Untitled, 2014 Shards of Paint Dimensions Variable

Untitled, 2014 Shards of Paint Dimensions Variable

Untitled, 2014 Shards of Paint Dimensions Variable

Collection: Untitled, 2014 Shards of Paint Dimensions Variable

Untitled, 2014 Shards of Paint on Perspex 1300 x 1300 (mm)

Untitled, 2014 Shards of Paint Dimensions Variable

Collection: Untitled, 2014 Shards of Paint Dimensions Variable

Untitled, 2014 Remains of paint on Perspex 1300 x 1300 (mm).

Untitled, 2014 Remains of paint on Perspex 1300 x 1300 (mm).

Untitled, 2014 Ready mix paint on Perspex 1300 x 1300 (mm)

Untitled, 2014 Shards of Paint

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