June 22nd, 2012
Marya Kazoun (b. 1976 in Beirut, Lebanon)
Frosty Grounds: The Beginning, 2009 Tissue, glue, glass, pencil, pen, acrylic on paper
True to my word (for once), here’s the Kazoun piece I referenced in my last post (scroll down). This is a delight in person, where you really get to see how it breaks down the barrier between framed painting and sculpture & occupies this rich textural interzone between the two. The coy tissuey drip out of the canvas is perfectly symbolic of this.
Just as the work straddles mediums, so does it branch across different themes & emotional tones. A quick glance at the bright palette & sunburst whimsy and on the one hand I get a little hungry, catching impressions of a brunch course being whipped together, some kind of weirdo, frothy deconstructed egg + shiitake + pesto plate. On the other hand, that same glance might also suggest something completely different: a gash on a frozen cadaver, flesh bloodless & rotgreen-dotted, the wound’s black stitches coming undone. These are the kinds of artworks — be they visual, musical, literary or otherwise — I tend to love best, those which can occupy several different modes & tones and gain power thereby.
For more by Kazoun, please go here.