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I seek to unveil painting in its "pictoriality", that is, to face the materials with themselves, generating interactions between them. In this way, the support becomes a kind of "battlefield", where the processes of artistic creation take place. Although there are elements that I can control by giving certain guidelines to the materials, they are governed by their own systems, behaving in unexpected ways and transforming into new images. The creation around the abstract image gives a certain independence to the act of painting, being the materials free to behave as they please, without obeying representational purposes. This allows the spectator to focus the attention on the creation processes and on the interaction between the elements that, being of irreconcilable origins (water and oil, acrylic and oil), reject each other, establishing a difference on the surface, where the only possible mixture it's by layering. Pigments, a fundamental component of my work, help to register these behaviors of the elements. The materiality and texture of the pigment leaves a print or sign of trace of what happens on the support. The interaction of the elements allows the development of multiple possibilities that are expressed through color, texture, brightness, opacity, directions, depth.
I seek to unveil painting in its "pictoriality", that is, to face the materials with themselves, generating interactions between them. In this way, the support becomes a kind of "battlefield", where the processes of artistic creation take place. Although there are elements that I can control by giving certain guidelines to the materials, they are governed by their own systems, behaving in unexpected ways and transforming into new images. The creation around the abstract image gives a certain independence to the act of painting, being the materials free to behave as they please, without obeying representational purposes. This allows the spectator to focus the attention on the creation processes and on the interaction between the elements that, being of irreconcilable origins (water and oil, acrylic and oil), reject each other, establishing a difference on the surface, where the only possible mixture it's by layering. Pigments, a fundamental component of my work, help to register these behaviors of the elements. The materiality and texture of the pigment leaves a print or sign of trace of what happens on the support. The interaction of the elements allows the development of multiple possibilities that are expressed through color, texture, brightness, opacity, directions, depth.
I seek to unveil painting in its "pictoriality", that is, to face the materials with themselves, generating interactions between them. In this way, the support becomes a kind of "battlefield", where the processes of artistic creation take place. Although there are elements that I can control by giving certain guidelines to the materials, they are governed by their own systems, behaving in unexpected ways and transforming into new images. The creation around the abstract image gives a certain independence to the act of painting, being the materials free to behave as they please, without obeying representational purposes. This allows the spectator to focus the attention on the creation processes and on the interaction between the elements that, being of irreconcilable origins (water and oil, acrylic and oil), reject each other, establishing a difference on the surface, where the only possible mixture it's by layering. Pigments, a fundamental component of my work, help to register these behaviors of the elements. The materiality and texture of the pigment leaves a print or sign of trace of what happens on the support. The interaction of the elements allows the development of multiple possibilities that are expressed through color, texture, brightness, opacity, directions, depth.
I seek to unveil painting in its "pictoriality", that is, to face the materials with themselves, generating interactions between them. In this way, the support becomes a kind of "battlefield", where the processes of artistic creation take place. Although there are elements that I can control by giving certain guidelines to the materials, they are governed by their own systems, behaving in unexpected ways and transforming into new images. The creation around the abstract image gives a certain independence to the act of painting, being the materials free to behave as they please, without obeying representational purposes. This allows the spectator to focus the attention on the creation processes and on the interaction between the elements that, being of irreconcilable origins (water and oil, acrylic and oil), reject each other, establishing a difference on the surface, where the only possible mixture it's by layering. Pigments, a fundamental component of my work, help to register these behaviors of the elements. The materiality and texture of the pigment leaves a print or sign of trace of what happens on the support. The interaction of the elements allows the development of multiple possibilities that are expressed through color, texture, brightness, opacity, directions, depth.
I seek to unveil painting in its "pictoriality", that is, to face the materials with themselves, generating interactions between them. In this way, the support becomes a kind of "battlefield", where the processes of artistic creation take place. Although there are elements that I can control by giving certain guidelines to the materials, they are governed by their own systems, behaving in unexpected ways and transforming into new images. The creation around the abstract image gives a certain independence to the act of painting, being the materials free to behave as they please, without obeying representational purposes. This allows the spectator to focus the attention on the creation processes and on the interaction between the elements that, being of irreconcilable origins (water and oil, acrylic and oil), reject each other, establishing a difference on the surface, where the only possible mixture it's by layering. Pigments, a fundamental component of my work, help to register these behaviors of the elements. The materiality and texture of the pigment leaves a print or sign of trace of what happens on the support. The interaction of the elements allows the development of multiple possibilities that are expressed through color, texture, brightness, opacity, directions, depth.
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Cosmogony I Painting

Macarena Haase

Chile

Painting, Oil on Paper

Size: 70.9 W x 49.2 H x 0 D in

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About The Artwork

This work is part of a process of experimentation around the mix of two typical art materials: oil and acrylic. In an attempt to mix water and oil, two mixes are made: one based on copper pigment and medium for oil, the other based on prussian blue pigment, medium for acrylic and water. The interaction between two opposite materialities, generates the rejection between the color mixes, so they try to find new possible "paths" within the paper. During the process, the paper was on the ground, so this work was done horizontally. I walked pouring these two mixes of color according to my deliberate intentions. This could be the "control" within the work, while the movements and reactions of the materials within the paper represent the “chance". The paper has been flooded by the colored fluids. Due to the reactions of the materials, we can discover how the oil goes around the acrylic. The size and thickness of the paper is very important. I used 200 grs. paper so it can be able to retain important quantities of liquid, reason why it is also heavy. This weight allows a certain rigidity in the work. This work was made with five layers of paint. We can observe the color mixes result of the layer superposition. But, at the same tame, it is also very clear, how both materialities reject each other.
 It should be noted that to cover the entire surface, I myself walked on the paper pouring the paint. When the first layer was dry, the same act of pouring both mixtures was performed again. I specify that I conceive this process as an "act" since I believe that it is endowed with a performative character. I as an artist walking on paper, distributing color and materiality; I am the "production technique" that shapes the work. I think that, in part, something of this process manages to become visible in the final image, since the large format allows to appreciate shapes, colors, textures, depths, materialities, etc. www.macarenahaase.com @macarenahaase.art

Details & Dimensions

Painting:Oil on Paper

Original:One-of-a-kind Artwork

Size:70.9 W x 49.2 H x 0 D in

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