I am drawn to the intimacy and immediacy of painting. This medium allows for a rich exploration of both control and surrender, particularly when engaging with its fluidity. I work intuitively and focus on maintaining a balance between my intentions and the element of chance. I find this both motivating and challenging, and beyond the art practice, a powerful metaphor for navigating our world.
My work is strongly driven by process within the framework of investigating what shapes us, and seeking the connections between the physical, psychological, personal, and environmental. I create spaces that slowly reveal their subjects, referencing both internal and external worlds. I begin with an abstract environment of textures and colours, and I draw parallels between the earthy and the visceral. At first glance, the paintings might appear quite abstract, but with time, the forms, -a face or human figure-, become more recognizable. In these paintings, my intention is to entice the viewer to take time, to become aware of what is subtle, and to consider the relevance of what is seen or sensed and what is left hidden or overlooked.
Two Sides of the Story
With Two Sides of the Story, the neuron performs both as a reference to our inner landscape as well as a representation of the movement of energy and paths traced by forces both inside of us and in our environment.
This diptych was also the first of a series of paintings where I explore mirror images, playing with symmetry and asymmetry. I have always been interested in the role of visual symmetry in our lives. However, when I learned about mirror neurons, I became curious of symmetry on a functional level, and further, in the places where that symmetry deviates.
Two Sides of the Story is also an exploration of multiples. When creating multiple variations of a piece, I am thinking of each as an evolution, where each evolution is its own possibility. I am interested in potential, diversions and deviations, healing and neuroplasticity.
Building upon how my process examines the relationship between intention and chance, I continue to investigate the extent to which our choices have a role in our lives.
https://dzeelouise.com/
My work is strongly driven by process within the framework of investigating what shapes us, and seeking the connections between the physical, psychological, personal, and environmental. I create spaces that slowly reveal their subjects, referencing both internal and external worlds. I begin with an abstract environment of textures and colours, and I draw parallels between the earthy and the visceral. At first glance, the paintings might appear quite abstract, but with time, the forms, -a face or human figure-, become more recognizable. In these paintings, my intention is to entice the viewer to take time, to become aware of what is subtle, and to consider the relevance of what is seen or sensed and what is left hidden or overlooked.
Two Sides of the Story
With Two Sides of the Story, the neuron performs both as a reference to our inner landscape as well as a representation of the movement of energy and paths traced by forces both inside of us and in our environment.
This diptych was also the first of a series of paintings where I explore mirror images, playing with symmetry and asymmetry. I have always been interested in the role of visual symmetry in our lives. However, when I learned about mirror neurons, I became curious of symmetry on a functional level, and further, in the places where that symmetry deviates.
Two Sides of the Story is also an exploration of multiples. When creating multiple variations of a piece, I am thinking of each as an evolution, where each evolution is its own possibility. I am interested in potential, diversions and deviations, healing and neuroplasticity.
Building upon how my process examines the relationship between intention and chance, I continue to investigate the extent to which our choices have a role in our lives.
https://dzeelouise.com/
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