Alice Máselníková
  • about
    • biography
    • statement
    • press
  • portfolio
    • painting
    • drawings
    • performance
    • sculpture >
      • - 2015 partial bodies
      • 2014 the womb
      • 2012 us/flesh
      • 2011 fetus
      • 2011 grimace
    • text >
      • insomnities & other poetry
      • articles and essays
      • the anima, the body and the space: dialogues
  • exhibitions and projects
    • 2018 Elektrozavod, Moscow
    • 2017 Their first time with Tomte
    • 2017 YIA Basel
    • 2017 Red Salt: Big Arty Bang
    • 2017 Artarctica
    • 2016 Hudnära
    • 2015 BCCA mini residency
    • 2015 Wanderers' Tales
    • 2015 SMart Stretch & Active Bread Exchange
    • 2014 Prosthetic Poetry at Cockenzie House
    • 2014 degree show
    • 2014 dainty rogues In porcelain
    • 2014 translations
    • 2013 the undesirable
    • 2013 are we any different
    • 2011 eat my bear
  • curating
    • 2017 chemicalmoonBABY
    • 2017 Decentralised Identity
    • 2017 Campbasel Revisited (guest speaker)
    • 2017 Code /kəʊd/
    • 2016 Per Forma
    • 2016 Hej Hej PALS
    • 2016 Games
    • 2015 Dark Barn
  • contact

hereby I state

I am searching, experimenting, improvising. Trying to find the time, trying to have fun, sometimes, but at the same time to be passionate and serious about what I do, and respectful and curious about the work of others.

As artist, I try to be unpretentious about my work. I am a painter, I prefer oil paints and flat larger paint brushes, I paint what I see and how I feel it. Speaking to you, in some way, whether tangible or suggestive. The work asks simple questions: Will you touch me? Do you feel me, do I seep inside you?
I do not like highbrow titles for my art pieces, I do not want people to need to google up what my words mean.

I work with life models and my paintings become clearly stronger if they are based after a model. I like the dialogue with my models, the intimacy that is created during the sessions, their viewpoints of the world that find their way on the canvas; or sometimes not. I have one model who has been posing for me for over a decade, and I am very grateful to her.

I sometimes combine my paintings with words, thoughts shaped in short poems delivered in their frank and intimate form: skinned bare, left to be touched, entered and played with. Recently, words have lost a lot of their meaning for me, I cannot seem to find them or understand them anymore.

I sometimes feel like it is an obsession I have for painting the human body. Where did it come from? Most of my art originates in the body, its forms and relation to space within and outside of itself; oversized body, the curves, the fat, the colour of the flesh fascinate me. The pressure of the outside and inside world; the stress; the compression: what happens to the body when disturbed, squeezed, uncomfortable?


 


 


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