Page 28 - WTP Vol.IX #3

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“Long before I became acquainted with the Dada and Pop visionaries,
I was fascinated by The Jetsons, Disney’s animated films, and Dr. Seuss’s illustrations. Saturday mornings were reserved for cartoon shows and Sunday mornings were not complete without the comic strips. My paintings reflected the biomorphic shapes con- tained in these venues.
“Several years ago, I discovered that a genetic disorder, named Fragile X, lurked deep in my family history. In search of explanations, I was consumed with delving into medi- cal books. The images I found there both fascinated and repelled me. At the same time, I saw a correlation to the organic and cartoony images that had become a part of my paintings. So I consciously made the medical illustrations a part of the images that I use to construct drawings that ultimately become paintings.
“Although my paintings are developed with formal structure in mind and an emphasis on material and process, much of the imagery is gleaned from animated film and medi- cal textbooks. So, as a critic once wrote, it is not an accident that some of my paint- ings resemble vivid, spongy and psychedelic landscapes that a space-age cartoon fam- ily might zoom through; or that others suggest Wassily Kandinsky meeting the Lava Lamp while watching a 1960’s educational film introducing youngsters to the wonders of the digestive system.
“The finished paintings stress color, texture, and space through the use of traditional and non-traditional tools and printing techniques that include stencils, brushes, rollers, scrapers, masking, and resist products.”
BeveRly KeDZioR