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Sibling Paintings: Wading Pool / Maruta (Waiting Pool) displayed side by side
Painting: Oil and pencil on masonite panel.

Size: 18 H x 18 W x 1 in

Oil on canvas 

I’ve written a little about the process and thoughts behind Wading Pool and it's sibling painting Maruta. A link to the first, “Waruta: Connections & Inspiration”, is below:

http://www.mryczek.com/waruta-connections-inspiration/
Painting: Oil and pencil on masonite panel.

Size: 18 H x 18 W x 1 in

Oil on canvas 

I’ve written a little about the process and thoughts behind Wading Pool and it's sibling painting Maruta. A link to the first, “Waruta: Connections & Inspiration”, is below:

http://www.mryczek.com/waruta-connections-inspiration/
Painting: Oil and pencil on masonite panel.

Size: 18 H x 18 W x 1 in

Oil on canvas 

I’ve written a little about the process and thoughts behind Wading Pool and it's sibling painting Maruta. A link to the first, “Waruta: Connections & Inspiration”, is below:

http://www.mryczek.com/waruta-connections-inspiration/
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wading pool Painting

Mike Ryczek

United States

Painting, Oil on Wood

Size: 20 W x 20 H x 1.5 D in

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About The Artwork

Painting: Oil and pencil on masonite panel. Size: 18 H x 18 W x 1 in Oil on canvas I’ve written a little about the process and thoughts behind Wading Pool and it's sibling painting Maruta. A link to the first, “Waruta: Connections & Inspiration”, is below: http://www.mryczek.com/waruta-connections-inspiration/

Details & Dimensions

Painting:Oil on Wood

Original:One-of-a-kind Artwork

Size:20 W x 20 H x 1.5 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

I see each of my paintings as a dense collection of layered missteps guided by a single underlying intention. In most of my work, I’m attempting a semi-realistic interpretation of an imagined environment, employing realism and abstraction in a way that gives the impression of a scene on the verge of collapse. The photographic source material I use serves as both a jumping off point and something to fight against. I try to glean from the source only that which resonates with me and dispose of the rest so as to avoid slavish depiction. The ideal result is a faint echo or a total reconstruction of what is observed, anchored by recurring themes of nostalgia, my own existential anxieties and the corruption of human memory. I view the painting process as a form of self-examination – the end product’s value lying in the thoughts, emotions and memories I’ve projected onto the objective source.

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