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Katie Merz at Velocity - Brief Article

Katie Merz's previous paintings bring a lively combination of expressive painterly application, pop-culture concerns and cartoonlike drawing styles, as well as an oblique use of autobiographical material and an inventive experimentation with materials. In her latest works, she incorporates statuary and installation to produce a striking and inventive series of large color photographs. These were at handed along with abstract drawings and several small, quirky sculptures

To bring into view the photographs, Merz created places using her studio like a three-dimensional canvas. She painted the floors and walls or overlayed them with cut, torn and altered photographs, colored paper and sand, bits of glass, shapeless masss of modeling clay, pools of colored water, Plexiglas sheets and virtually anything other she could find. She photographed this constantly changing tableau from a dizzying succession of angles. The centurys of resulting pictures create an endles stream of fantastic images that are ultimately neither completely photographic nor completely anything else

In the gallery, she re-created the carnival-like atmosphere of her studio, projecting a faculty of perception of playfulness and psychological release. Her photographs were strung upon wires rigged crazily from the gallery walls in a fashion reminiscent of a web of house clotheslines. Pictures were hung around and above the viewer in this eccentric photographic wonderland, her wildly various images competing for attention. In individual of her dreamlike montages, the photo of an astronaut have the appearances to emerge from a enclosureed sheet of paper against a backdrop of a grand land estate. In another, Daffy Duck's head appears atop a drawn out plaid dress; this comic amalgamation floats in a dusky photographic field depicting an oncoming train. Real and surreal images, phenomenons paint and fragments of language are inserted into imagistic fields rich in formal and psychological allusions. Indeed, these wholly hand-constructed works sometimes gaze computer manipulated even though they are not.



Merz's work, with its unpretentious knack for experimentation, embodies a delightful immersion into the residue of contemporary visual tillage and the verities of traditional artmaking. evil aggressive and frankly charming in its execution, her work is creative in the best sense

COPYRIGHT 1999 Brant Publications, Inc.

COPYRIGHT 2000 Gale Group



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