Transition
"The art of dance has always been an inspiration for Szymczak, it’s influence bleeding over into this body of work and inspiring many of her figural compositions. The artist uses images from past performances and choreography for referential material by re-staging scenes her studio with models. Using this method as a starting point, Szymczak pushes further, integrating her own unique imagery into the painting, transforming the work from something representational into the realm of personal fantasy. She explores this notion visually as well, utilizing butterflies to symbolize transformation, or doves as visual signifiers of peace.
The content of this collection goes beyond the athleticism and appreciation of dance. Szymczak uses figures to convey vague emotional narratives that the viewer can connect to. The subject matter comes from personal experiences where the artist has had to overcome a personal struggle or trial, something common of the human experience.
According to Szymczak, the human experience is not black and white and is contains many grey areas. As such, Transition also delves into the concept of duality. Using light and dark paints to show contrast, Szymczak’s canvases detail scenes of internal struggle as all human beings battle with the balance of dark and light in their own lives. This exhibition offers us a chance to take a moment for self-reflection in a busy world where we often forget to take in the larger picture."
-Rakeem Cunningham, TAG Gallery Director
(310) 829-9556, gallery@taggallery.net
Choreographed color
Choreographed Color is a collection of figure paintings that celebrate the human form using compositionally vague atmospheres, anatomy, color, form and emotional metaphor. I have always had a passion for dance, particularly the juxtaposition between the physicality of the discipline and it’s expressive aspects. As a dance student, I was required to wear the same colored leotard, tights, and have my hair pulled back into a tight bun. Dance is a technical art with its own vocabulary, it takes so much control and rehearsal to achieve the beautiful results seen on stage, and celebrates careful thought with unfiltered expression. I see the process of painting the same way, this body of work is a direct mirror of my love for both disciplines. Just as a dancer is trying to find their artistic voice, a visual artist is trying to do the same; yearning for that delicate balance between technique and expression.
I primarily focus on the contemporary dance genre, as this is the discipline I am most familiar with and less costume gets in the way so that I can study more anatomy. I draw and paint dancers as they move in rehearsal and on stage, which helps keep my brushwork fresh. I choreograph dancers into compositions which allows me to control the costume and lighting conditions. In addition to working from life and photographs, I rely on anatomy books, invention, travels, thumbnails, drawings, and color studies for referential material. But the real magic happens in the unplanned moments of painting, when I find the right balance between technique and expression.
As a semi-professional dancer, I toured with small dance companies in the Midwest. I have chosen to continue my passion for dance with figurative painting. I choreograph strong and purposeful figures with emotion and energy. For example, in the painting, Repose, I composed the figures lying on their backs so that their limbs would be flaccidly hanging off of a table, perhaps suggesting relaxation, surrender, or submission, maybe even comfort. In other words, intentionally vague and open for multiple interpretations. The atmospheric gradations in the background suggest the table is floating and that the figures are not grounded. The light hitting the body contrasts with the cooler blue tones creates mood and drama. The conception of this idea came from a past performance.
For me, the figure can metamorphose into so many conceptual directions, so I try to narrate common emotions of the human experience.
I primarily focus on the contemporary dance genre, as this is the discipline I am most familiar with and less costume gets in the way so that I can study more anatomy. I draw and paint dancers as they move in rehearsal and on stage, which helps keep my brushwork fresh. I choreograph dancers into compositions which allows me to control the costume and lighting conditions. In addition to working from life and photographs, I rely on anatomy books, invention, travels, thumbnails, drawings, and color studies for referential material. But the real magic happens in the unplanned moments of painting, when I find the right balance between technique and expression.
As a semi-professional dancer, I toured with small dance companies in the Midwest. I have chosen to continue my passion for dance with figurative painting. I choreograph strong and purposeful figures with emotion and energy. For example, in the painting, Repose, I composed the figures lying on their backs so that their limbs would be flaccidly hanging off of a table, perhaps suggesting relaxation, surrender, or submission, maybe even comfort. In other words, intentionally vague and open for multiple interpretations. The atmospheric gradations in the background suggest the table is floating and that the figures are not grounded. The light hitting the body contrasts with the cooler blue tones creates mood and drama. The conception of this idea came from a past performance.
For me, the figure can metamorphose into so many conceptual directions, so I try to narrate common emotions of the human experience.
