DIANNA MOLZAN Waltz 1506 Projects, 1506 Olive Way Seattle 98122
Molzan presents paintings, in a variety of styles, based on the artist's snapshots. The opening reception was held on Sat June 19, 6-9 pm. with performances by Fankick. 1506 Projects, 1506 E Olive Way, 329-5400. Through July 25.
Image on the left Heidelberg Stein, oil on linen, 2004
NEW PANORAMA VR ADDED 26 JUNE, 2004!!
Summer starts with an exciting series of new paintings by artist Dianna Molzan at 1506 Projects. Using snapshots as source material, Molzan creates imagery out of the ether of everyday life. Grassy Bank, oil on linen, 2004 recalls the time honored tradition of the exploration of light and shadow as it occurs for a fleeting moment, a photographic second.
Sleeping Figure, 2004, oil on linen, gives the viewer an image of repose. The head of the model is beautifully contrasted with the riot of colors on the quilt of the bed. The interplay between flesh and fabric evokes the vividness of dreams against the unconsciousness of sleep.
The artist Bernard Buffet explored the timelessness of the cityscape in a series of paintings about Paris. In Colmar, 2004, oil on linen, Molzan gives us a view of a French town just across the border from Germany. The vibrations of the half-timbered architecture rumble through the composition suggesting the vitality of the street.
Doorways, 2004, oil on linen, gives us another everyday view re-contextualized into the timelessness of art. How many times have we accidently shot a picture without any idea of composition? Molzan takes these happy accidents and presents them as aesthetic masterstrokes for the viewer to enjoy.
Still-life was relegated by the French Academy to the lowest level in the hierarchy of genres. In Tufted Chair, 2004, oil on linen, we are confronted with a bravura demonstration of the painter's art. Scaled to the size of a small landscape, the composition really reveals the architectural structure or skeleton of a section of the chair.
Cropped Torso, 2004, oil on linen, recalls to mind the work of Jenny Saville, [of Young British Artist fame]. Unlike Saville, there is only a section of the human figure presented. The palette tone of the flesh is simultaneously warm and cold which attracts and repulses the eye in much the same way an abstract painting by Hans Hoffman pushes and pulls the viewer through the composition.
By choosing to work with oil paint on linen canvas, Dianna Molzan leaves no doubt to the viewer that these images are located in the tradition of high art. Her radicalism rests not in technique but in the choice of content of the work. It is nice to see revolutionary ideas so beautifully executed.
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DIANNA MOLZAN
Summer starts with an exciting series of new paintings by artist Dianna Molzan at 1506 Projects. Using snapshots as source material, Molzan creates imagery out of the ether of everyday life. Grassy Bank, oil on linen, 2004 recalls the time honored tradition of the exploration of light and shadow as it occurs for a fleeting moment, a photographic second.
Sleeping Figure, 2004, oil on linen, gives the viewer an image of repose. The head of the model is beautifully contrasted with the riot of colors on the quilt of the bed. The interplay between flesh and fabric evokes the vividness of dreams against the unconsciousness of sleep. 
The artist Bernard Buffet explored the timelessness of the cityscape in a series of paintings about Paris. In Colmar, 2004, oil on linen, Molzan gives us a view of a French town just across the border from Germany. The vibrations of the half-timbered architecture rumble through the composition suggesting the vitality of the street.
Doorways, 2004, oil on linen, gives us another everyday view re-contextualized into the timelessness of art. How many times have we accidently shot a picture without any idea of composition? Molzan takes these happy accidents and presents them as aesthetic masterstrokes for the viewer to enjoy.
Still-life was relegated by the French Academy to the lowest level in the hierarchy of genres. In Tufted Chair, 2004, oil on linen, we are confronted with a bravura demonstration of the painter's art. Scaled to the size of a small landscape, the composition really reveals the architectural structure or skeleton of a section of the chair.
Cropped Torso, 2004, oil on linen, recalls to mind the work of Jenny Saville, [of Young British Artist fame]. Unlike Saville, there is only a section of the human figure presented. The palette tone of the flesh is simultaneously warm and cold which attracts and repulses the eye in much the same way an abstract painting by Hans Hoffman pushes and pulls the viewer through the composition.
