Car lots, birthday parties, fireworks, playgrounds, billowing lines of flags. Eye-catching objects that shimmer and flow, moments invoking feelings of elation and play; these are the things that grab me. I find myself immersed in mouth-watering landscapes, yet often times I am more aesthetically captivated by all of the shiny fringe-decorated car lots located within a square mile of one another. It is safe to assume that I would be more efficient with time if I wore blinders, but my experiences and work would be far less elaborate and satisfying. My current work explores the relationship between the visual perception and interpretation of Americana festivities and events, while considering the fascinating connections between acts of celebration and destruction.
The intention of decorating is to catch attention. “Buy your next car here!” “This way to the party!” I am captivated by the power of shiny things and loud noises, and through my work I observe, commemorate and question the moments when they are used.
Often times I have authentic reactions to these events and cannot claim to be above their lure. Mesmerized, I find myself wondering how explosions can be celebratory in one instance and devastating in another.
Because the work is narrative-based, I rely heavily on my own experiences as research. The sights and smells of a fireworks display command my attention with a potent excitement, and I attempt to visually translate that same intensity. The results of my research bear little resemblance to reality. My hand meanders through layers of dots, patterned marks and glittery materials. With careful thought and attention to detail I connect unrelated incidents and memories, and themes of whimsy, fragility and cause and effect surface within the work.
My process utilizes painting, drawing, and sculptural installation to create work that is hand-built, multi-layered, densely populated and playful. Working this way allows me to disregard boundaries that exist between different media. The materials I choose are not solely art-specific; they come from party stores, office supply stores and hardware stores. Nothing is off-limits, and everything has potential—this open-mindedness allows and forces me to fluctuate between confidence and uncertainty when using materials, resulting in honest yet sophisticated work.
I give suggestions of the works’ meanings through the imagery I include and the titles I ascribe. Simple yet direct phrases, such as “Wait!” and “Dig deep!” lead the viewer to carefully reconsider the intent of a string of yellow tags or target practice sheets launching from the wall. As an artist I employ lightheartedness when dealing with ideas that are fantastically disastrous, and translate my experiences into the materials used, the imagery created and the ideas projected onto the viewer.
The intention of decorating is to catch attention. “Buy your next car here!” “This way to the party!” I am captivated by the power of shiny things and loud noises, and through my work I observe, commemorate and question the moments when they are used.
Often times I have authentic reactions to these events and cannot claim to be above their lure. Mesmerized, I find myself wondering how explosions can be celebratory in one instance and devastating in another.
Because the work is narrative-based, I rely heavily on my own experiences as research. The sights and smells of a fireworks display command my attention with a potent excitement, and I attempt to visually translate that same intensity. The results of my research bear little resemblance to reality. My hand meanders through layers of dots, patterned marks and glittery materials. With careful thought and attention to detail I connect unrelated incidents and memories, and themes of whimsy, fragility and cause and effect surface within the work.
My process utilizes painting, drawing, and sculptural installation to create work that is hand-built, multi-layered, densely populated and playful. Working this way allows me to disregard boundaries that exist between different media. The materials I choose are not solely art-specific; they come from party stores, office supply stores and hardware stores. Nothing is off-limits, and everything has potential—this open-mindedness allows and forces me to fluctuate between confidence and uncertainty when using materials, resulting in honest yet sophisticated work.
I give suggestions of the works’ meanings through the imagery I include and the titles I ascribe. Simple yet direct phrases, such as “Wait!” and “Dig deep!” lead the viewer to carefully reconsider the intent of a string of yellow tags or target practice sheets launching from the wall. As an artist I employ lightheartedness when dealing with ideas that are fantastically disastrous, and translate my experiences into the materials used, the imagery created and the ideas projected onto the viewer.
Copyright © 2012, Angie Zielinski. All rights reserved.
