Marcia Biasiello Artist

Marcia Biasiello Artist

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I have always felt what it is to be an artist. As a little girl in Chicago, I made pictures by squirting paint onto paper using a toy spinner machine on our front porch and sold those pictures to anyone who stopped to watch on their way to “The Royal Blue,” the corner store at the end of the block. After my cousin showed me how to shellac the rocks we had painted with tiny animals and flowers so that they glimmered in the sun, I sold them door to door from a wagon. And I told fortunes in the back yard using a toy lie detector set under Native American blankets clipped to a clothes line. My first real creation was a storybook about a man and woman who fell in love and married. I drew the pictures after my father wrote down the words that I told him for me before I knew how to write. I am probably continuing that same love story in my paintings today.

I have an MFA from The School of the Art Institute of Chicago, and taught college level art at both the University of Illinois in Champaign, and The School of the Art Institute of Chicago. I

My work has been in exhibitions around the USA and is included in private collections, including in Albuquerque, Alexandria, Appleton, Berlin, Boise, Boston, Brooklyn, Burbank, Chicago, Fort Worth, Laveen, Ligonier, Los Angeles, Manhattan, Oakland, Omaha, Riverside, San Francisco, Sacramento, Toronto and Westfield.

I have always been moved by story. We tell them out loud to each other and silently, to ourselves, sometimes without realizing it. Narrative connects the subtle, reveals and creates meaning. The branch, the chair, the adored, the longing, the projection, the connection. Words move us. And, images do as well, hopefully not just the instant and disposable. My paintings are stories.

I see these images as depicting pivotal moments. What happens before, after and even during the moment of the scene being depicted is open with possibility. I see the frame as drawing a line around an otherwise normal environment and an otherwise uneventful moment. By constraining the space and loading it with extremes, a next step seems inevitable. But a next step from choice, not restriction and constraint. Interactions between him and her, him and the past, her and the future, etc., all overlay the present moment to make any next move possible. I don't know what each figure in these paintings will do next. We are all fluid and unpredictable in each other's lives, and even in our own.

I try to present space that is different from the room it is in, to offer a different logic than the rooms we walk around in and know what to expect. I see these pictures as visual narratives/talismans/love poems. Finding relationships between the elements is like writing a poem with phrases, rhythm and meter, dangling modifiers.

My process seems to follow steps: One: inspiration: fashion, music, gesture. Two: composition. Three: sketching onto the surface. Four: a limited color pallet selection. Five: first layer of painting to define forms. Six: dress-up of the figures. Seven: look for relationships between elements, tension, release, constraints and interactions. Six: layer of intensity to create an overall continuity.

I have a great love of beauty and want to present fascinating environments. While some elements of beauty may be universal, symmetry, harmony, proportion, other elements compel me equally: attraction to the unknown, comfort of darkness, surrender to overwhelm.



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