Collector’s Choice: Thérèse Murdza


www.theresmurdza.com

 

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Coming to the paint

Before I could tie my own shoes, I played a small accordion. I studied piano, saxophone, then jazz and music theory at a Maryland public high school. In college, I studied theater performance, learning new forms of materializing sounds in transitory space. I acted, directed, and wrote poetry and plays.

 

 

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After graduation I distilled my writing further, in search of the precise moments of emotion and of contact. Not narrating the beginnings and ends, but middles; the being in the middle of things.

Years spent living up and down the mid-Atlantic coast (Baltimore, MD; Rehoboth Beach, DE; Brooklyn + New York, NY; Washington, DC; Durham, NC) had me drawing on big paper and literally taking the words apart. Disintegrating the shapes of the words into lines, circles, squares and color. Seeing music, hearing words, somehow marking sound in charcoal, ink, pencil, and then: paint.

 

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Since 2000, I’ve worked almost exclusively on hand-stretched canvas, in turns building large, sometimes multi-paneled works on canvas, and smaller works on canvas and paper. From my studio in Portland, OR, I partner with gallerists, design professionals, art agents, and private clients to place my paintings nationwide.

 

 

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I would like to give special thanks to Thérèse Murdza for allowing me to feature her art work on KIRSTEINFINEART.

 

 

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Collector’s Choice: Madeline Denaro


 

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www.madelinedenaro.com

 

 

“To allow something that I do not control to have an action, to allow oneself to bring this action into a materiality; this is why I make art.”  Madeline Denaro

 

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My work is very much about process. I find the image secondary to the art making. Although abstract in nature, there is an underlying visual order that gradually seems to emerge. Working intuitively, I enter a realm of the unknown where there is more of a following than any real choice. I seem to be forever altering and adjusting the framework of some invisible reality.

 

 

Click on thumbnails to enlarge.

There is an openness that is needed for this direct experience, this self-imposed repetitive process as I build, destroy, erase, paint over. There is a definite chaos through which each work evolves and it seems to return repeatedly to its beginning. But with each revival there are the markings, the scars of the previous. I have a relationship to these subtleties, these sensitivities, keeping some, hiding some; but knowing full well all that has been before.

 

 

 

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