While working on my two pieces “Wading Pool” and “Maruta (Waiting Pool)”, I’ve always seen them as being connected and essentially parts of a diptych even though they’re constructed as separately framed pieces. I view them as psychological landscapes – Wading Pool specifically encapsulating the idea of birth, egocentrism, intoxication, cyclical movement and naiveté, and Maruta representing the opposite end of the spectrum: sobriety, knowledge, disenchantment, linear movement, death. Both pieces have taken on multiple forms and Maruta is the third of three separate attempts, the earliest of the two previous paintings going as far back as Jan. 2013 (both were discarded).
In preliminary sketches, I remember having specific moods in mind that I wanted to capture in both pieces. They were all deeply personal and derived from some vague mixture of nostalgic remembrances from early childhood, as most of my work seems to be. I imagine this is a shared trait among most artists: the desire to re-experience emotionally charged early experiences and reconcile them with our adult experiences. I can honestly say that every painting I’ve ever made for myself has been inspired by childhood fantasies, compelled by some confusing bundle of dreamy impressions that, with the passing of time further obscuring them, have become almost like dear friends that I attempt to memorialize and hope to one day revisit. Memories from a time when my life experience was as limited as it ever would be, I was at my most vulnerable and defenseless, and the emotional bonds formed between myself and my surroundings were not yet broken by self awareness, knowledge and cynicism.
Continue to Waruta 2: Thoughts on Wading Pool >
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This post was written by mryczek