Marjorie Kaye


About The Artist

My work utilizes classical structure as a vehicle for blatant expression. The work is boldly color-saturated and organic. Forms point upward or sideways from a centrifugal base, hunting and seeking. Observation of the work stands on the edge of a physical experience. Passion and complexity of expression emerge within the form.

The sculptures consist of individual forms cut from plywood, nailed and layered with wood glue. Some of the pieces are painted with gouache and sealed with acrylic medium. Others are made to be either interior or exterior pieces harmoniously settled within the environment, painted with exterior house paint. Whether free-standing or wall mounted, the pieces are built out from a mass or a singular point. Many are layered in a circular formation, forming cone-like attached entities.

My gouache paintings are built from inner observation and basting myself in sequential order, which arises from the disorder of things. I need to work as if untying a complicated and seemingly impossible knot. The work starts from automatic drawing, releasing form and shape from movement. The forms are immediately organic, swirling and undulating from one end of the surface from the other. Once this has been established, I go in honing, working each shape, dissecting it into its unique rhythm. This is the secondary aspect of making each work, and the action that ties the shapes into a whole, one that balances between energy and calculation.

There are many solutions to the imminent puzzle put forth by the initial drawing, all based on sequence. One piece might start with each shape gifted with the same color pattern, and the element of the duality between balance and skewedness is produced by the fact that each shape has a differentiated number of areas, therefore resulting in additional colors making their ways over the surface in seemingly random patterns.

Another solution is to pick out shapes that are created in the initial drawing. There exist these organic creatures resembling microbes living and breathing on the surface. They are treated like separate entities, all cohabiting the same space. The patterns are done within each shape and brought together by the background.

Both sculptures and paintings address the puzzles present within the etheric universe. Both inward and outward are the mechanics of duality, vibrating between the laws of intention and those of magnetism. Existing are drifting pockets of chance, coming together in an ocean of predetermination. My work casts shadows and questions within these planes of energy.


Unit #218