Liz Mamorsky 
Liz Mamorsky
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Sculpture/wall hangings
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I
paint in oils on canvas, draw with pastels and colored pencils on amate
(bark paper) and create anthropomorphic and zoomorphic sculpture from
recycled materials - primarily electronic surplus. Because of my proximity
to Silicon Valley, many engineers have visited my studio and donated fabulous
materials to the cause. I
work intuitively in all my chosen media. With sculpture, form determines
function. A new object arrives and sparks an idea of what it will become,
joined with materials that may have been lying around the studio for years.
I love dismantling machines and finding the treasures within - the interior
landscape. I don’t sketch, but instead lay out the objects on the
floor, adding and subtracting 'till the piece works. Often the outcome
is markedly different from what I had roughly envisioned. Since my sculpture
is entirely self-taught and relatively new - having begun in 1991 - I
still have the thrill of new challenges in construction. I do not weld,
since I work largely with wooden foundry patterns and circuit boards.
Instead, I use a variety of screws, hinges and other joining devices.
Glue is used only when absolutely necessary - I hate the stuff! I enjoy
the mechanical challenge of building the piece and doing electrical wiring.
I am present and grounded. My left-brain gets a good workout. My
paintings, which are a totally right-brain function, evolve from a tangle
of brushmarks, spills and splatters, randomly applied to the stretched
canvas, obliterating the oppressive whitespace. I spend a lot of time
viewing this grid from a distance, like staring at clouds or tree branches.
Creatures emerge, morph, vanish and reappear. I try to hold on to the
strongest ones and rough them in. I develop the cast of characters by
glazing in thin coats of oil and medium, creating a luminous surface.
My paintings go through so many changes and take a very long time to do,
but the feeling is wonderful. It’s a trancelike state that usually
comes on after a couple of hours of work, when the moral censor turns
off and everything flows. I have no sense of time, temperature or place.
It’s like going "through the looking glass." I enter the
canvas - another world where I work feverishly. I am brave. I take risks.
There are no mistakes. I recently completed a six month relationship with
a 5’ x 7’ canvas called "Beneath the Surface." It
was hard to let go, but I always know when I’m done. Besides, there
was a sexy sculpture waiting seductively in the wings. All three of these disciplines are exciting to work in. There is never any down time - no blockage. The only problem is ... finding the time to do everything I want to do. Life is good! --Liz
Mamorsky
For all things Liz, please check out Lizland at www.lizland.com. |
Paintings/mixed media
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