Everyone (regardless of sex, orientation or background) digs the art and beauty of finely-formed females. Whether this phenomenon stems from a simple aesthetic preference rooted in breeding, cultural learning, or a larger objective, universal truth – it matters not…because with Mallorie’s work, it’s integral to the experience – her art houses a stable of classy dames!
The far-away glances – usually close-up and personal, peek into a brief moment within a timeless, placeless world…and as she explains, are works primarily concerned with mood – sometimes dark, always mysterious…expressed richly in oils, through a toned-down sepia-bathed color palette.
We did an interview with Mallorie over at Artchitecture Gallery – a great little gallery over in Asia-town, which has some really interesting shows lined up for the 2009 season. Mallorie will be showing there in September as well.
Is there anything you’re trying to express in your work?
A lot of times, I just try to convey an attitude by creating moods and feelings, instead of making them about something in particular.
I notice a theme of time going on…
I’ve always been into timepieces, clocks and also things that are timeless, which can’t be pin-pointed as to which time period it’s actually from. And most of my pieces contain either waiting for something to happen or anticipating it.
What about style…did you go do school and develop something you use on a consistent basis?
Yeah, I went to the Art Institute of Chicago, but didn’t graduate…I don’t know if I’d even recommend going to art school – it’s nice to learn techniques and it helped me deal with people criticizing my work, getting used to criticism, because you have to have thick skin to be an artist…those kids can really get in your face. It was good for me in that sense – and also building a background…but it was more of a personal thing and had nothing to really do with my art itself.
