ARTIST KEARIENE MUIZZ

Tradition is manipulated through the merging of realms. The artist plays with the disclosure of Paris in totality by reinterpreting the laying and the living, the fixed architectural body of the city above ground in juxtaposition to the vitality of it’s subsurface. Her intention is to translate and transmit the energy that circulates throughout both planes. 

The posture of the Haussmannian buildings are revisited and resuscitated in the modern day. Focusing on the mascarons, the sculptures that adorn the doors, walls, and artifacts of the city.

In this series Keariene exploits formality of oil paint as a technique and instrument of measure, prescribing a graffiti-like quality to the paint itself. 

Achieved with the aid of the RATP. The access granted by the transportation authorities of the Paris metro have made this collection characteristically distinct. The conventional canvased surface found in most paintings has been omitted entirely. Abandoning the constraints of cotton and linen fabric, she solely utilizes the large-scale affiches (advertisements) that adorn the organs of the underground. Localizing the context of memory by providing site-specific snapshots of Paris in real time through the conversion of temporal advertisements into lasting works of art.

   "I've always viewed stone as abstract flesh and have never reduced sculpture solely to minerals."

See Partial Collection Here

Special Thanks to Skip Arnold, Mme Dozias, Mme Smalto, Aloïce, RATP the RATP workers who update the advertisements & their affiliates. 

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Image Above:                      Revisiting Quai des Grands Augustins, Oil on Affiche & Gold Leaf

Main Affiche of Painting:   Half of the French movie poster for Don't Worry Darling

Image Below Left:               (Back) Revisiting Quai des Grands Augustins

Image Below Right:             Untitled work in progress

This collection is the most ambitious creative attempt undertaken by the artist. The technique is a culmination of more than a decade worth of experimentation with oil painting, completed during her ongoing residency in Paris, France. 

The first painting in this series was constructed over a fifteen month period.  The only revelation the artist is willing to disclose at this time is this project will be revealed in alignment with afro-surrealist expression, and is based upon interactions with local residents belonging to the African diaspora. 

Keariene looks forward to providing a statement of theory and formally introducing components of this collection in 2024.