Watching my second talk of Lee Maelzer’s life into painting, she also uses a voracity of different techniques to examine onto her proposal of focusing with household arts and tells of their old states of tidiness.
During her background studies of oil painting, are about to organized with most of environmental objects/structures in London and to share on related influence to particular films on horror for use in visual effects.
This is a taste of what Maelzer has used to experiment on the rooms empty areas, thought to have long abandoned since its original owners used to live there and which I was interested by their old textures if never been touched to stay connected to the past.
Maelzer’s website: http://www.leemaelzer.com/index.php?/recent-paintings/paintings/
Facts of Maelzer’s methods in painting:
- Different forms in film-making and collage
- Learnt on related themes in horror
- Uses visual imagery of abandoned objects
- Focuses on old apartment rooms and environmental places
- Most of old items either indoors or outdoors look decay
Followed with Lee’s video evidence to criticise her progress, of what allows me to visualize with old or ruin areas of household buildings alongside trains going by the rail-lines in slow motion.
Maelzer’s video on General Electric: https://vimeo.com/479231586
Furthermore, to help absorb with their once built structures all across town, like we are moving forward in our past, present and future which was if time passes by throughout peoples daily life and to keep me in mind of any peculiar art actions within our reality.
Maelzer’s career of visual development may have struggled in some of household objects/structures of deconstructed, but from my primary source into painting can be a sense of freedom if being adapted to unusual effects in spooky or emotions of loneliness for what her portraits and telling me of despair in a dark environment.
Think of this portrait of Stage Dust (2014), trying to explain me of how it was completely abandoned like I am feeling sad or been forgotten by the outside world if trying to describe on her artworks whilst visualing a once household object. In relation of this response I’ve been influenced by most of Maelzer’s visual apartments, because they could be a reflection to a person’s sanctuary might had turned in a haunted house and what I should be able to learn from its outcome of shaping our period in household living.
