Jen Mazza

American, b. 1972

47 followers

Jen Mazza

Bio

American, b. 1972

Followers
47
Biography

Since 2001, Mazza’s paintings have been exhibited nationally and internationally including a one-person show at the Jersey City Museum. Her work is in the permanent collection of the Eli and Edythe Broad Art Museum at Michigan State University.

Jen Mazza's recent paintings translate between the digital/machine-made and the artist-made. She engages with the idea that a painting is a machine: both object and system, at once receptive and productive. In each painting there is an apparent dualism between the hand and the machine: from her painterly negotiation of traces of the machine, the flaws in the images she references, to the tight brushwork in the utility patterns turned wall-paper. Often what appears to be an arbitrary scribble that reveals itself to be a tightly constructed shape that only emulates a gesture. The artist explains, “in constructing a painting I look for ways that objects, images and marks can be combined to form conjunctions and disjunctions; to build a painting which is conceptually in motion; in the process of becoming // becoming meaning // becoming meaning-full. Sometimes this involves a correspondence, a conversation—or an intervention.”

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Career Highlights
Biography

Since 2001, Mazza’s paintings have been exhibited nationally and internationally including a one-person show at the Jersey City Museum. Her work is in the permanent collection of the Eli and Edythe Broad Art Museum at Michigan State University.

Jen Mazza's recent paintings translate between the digital/machine-made and the artist-made. She engages with the idea that a painting is a machine: both object and system, at once receptive and productive. In each painting there is an apparent dualism between the hand and the machine: from her painterly negotiation of traces of the machine, the flaws in the images she references, to the tight brushwork in the utility patterns turned wall-paper. Often what appears to be an arbitrary scribble that reveals itself to be a tightly constructed shape that only emulates a gesture. The artist explains, “in constructing a painting I look for ways that objects, images and marks can be combined to form conjunctions and disjunctions; to build a painting which is conceptually in motion; in the process of becoming // becoming meaning // becoming meaning-full. Sometimes this involves a correspondence, a conversation—or an intervention.”

Career Highlights
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