Foremost a painter whose works emerge through the interaction of idea, material, and process, she values the ability to embody the unseen, unique to this medium, yet often expanding its boundaries and its potential agency, through a wider multi-disciplinary practice.

Website: http://www.mariachevska.com/index.htm

I want to research this artist in more detail after discovering her work in the exhibition catalogue from ‘Landscape, Memory, and Place’.

“…applied marks in matte blackboard paint – fragmenting the painting surface. This complexity interested me…to be in dialogue with ordinary things and not only the world of ‘painting’…I thought it had new potential for my practice.”

Paint and Materiality – interview with Maria Chevska.

Painting connected to the world, instead of a blank canvas in the studio, separated physically and emotionally from outside experience – this is why I paint outside, perhaps why I cover the canvas in paint outside, then return in the studio to bring a piece together (referring to early idea in A5 sketchbook).

“painting is an abstraction inasmuch as its very existence signifies what it cannot be.”

‘Interweaving Language: The Art of Maria Chevska’ by Ann Hindry.

“Maria Chevska’s works are about collapsing the past into the present, about letting the body spread out into the world, about collapsing the world into the mind.”

‘Painting as Séance: The recent work of Maria Chevska’ by Tony Godfrey

Chevska’s paintings seem to address the subject of space, of physicality and colour as a carrier of these messages.

The lack of subject in her work is what causes the viewer to notice the space surrounding a painting. It’s the use of texture and line that moves off the edge of the canvas that implies a relationship between the room and the painting.

Chevska’s use of paint to create depth points out the size of the exhibition space, reminding the viewer of the paintings materiality.

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After looking at the work of Maria Chevska I want to experiment with space in my paintings. An important aspect of these woodland paintings is capturing the height and scale of tall trees and big woodland. At the beginning of this project (Lent Term) the most successful ink paintings of woodland were ones that captured the height of the trees. I want to continue to capture this scale, but in a more suggestive and abstract form – looking at using lines and angles in my work might help me to do this.

To begin with I am going to do some simple experiments in my studio, using photos and videos taken from the woodland where I paint, as well as the colour sketchbook paintings, to inspire me.

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