"I am driven by eclectic curiosity, and by the joy of juxtaposition. My work is a curiosity cabinet and an apothecary of magic potions and spells. It is poetry, and a surreal dream. It is the frantic pace of the city and the magnificent silence of the night. It is about love and death and the sacred and inane, and the absurdity and beauty in all things."
Compared to Rauschenberg, Schwitters, and Basquiat, and inspired by Warhol, Joseph Cornell, Robert Motherwell, and Antoni Tapies, Lorette C. Luzajic wears her influences on her sleeve. Appropriating relentlessly from art history, advertising, music, poetry, fiction, culture, religion, and travel, she plunders everything but creates work that is original and entirely her own.
Lorette writes, "A collagist is always looking, always deconstructing and reconstructing. From dentist waiting room magazines to church hymnals to art history masterpieces at the museum to nightclub flyers, my mind is constantly snipping, juxtaposing, discovering, experimenting, replacing, gluing over, scraping back layers, recontextualizing."
Lorette's use of materials reflects the same montage quality as the varied concepts that inspire her. She uses acrylic paint, gouache paint, watercolour, spray paint, ink, fabric paint, chalk pastel, oil stick, oil pastel, crayons, pencil crayons, graphite, found papers, found photographs, found images, house paint, plaster, silicone, pen, markers, cosmetics, glues, stickers, and any other media she can incorporate.
Lorette studied for and received a Bachelor of Applied Arts degree in journalism, but went on to focus on creative work in visual art, photography, poetry, and writing about art. She is the editor of The Ekphrastic Review at www.ekphrastic.net, a journal dedicated exclusively to literature inspired by visual artwork, and has published hundreds of poems and stories in nearly 200 magazines, journals and blogs. She teaches workshops on ekphrastic writing and on art without drawing. Her visual art shows regularly at home in Toronto, Canada, including at the Spoke Club, the Gladstone Hotel, Artustiasm Gallery, the Flying Pony Gallery, the Ritz Carlton, the Toronto Outdoor Art Exhibition, Scotiabank Contact Photography Festival, the Toronto Artist Project, Hashtag Gallery, Project Gallery, and more. She has also shown work further afield, including Brisbane, Bristol, Edinburgh, Los Angeles, San Diego, Chicago, New York, and other American cities. She recently participated in an international artists symposium in Tunisia, working to create paintings for the Ministry of Culture and to show in two exhibitions in Tunis and Hammamet. She also visited Mexico recently for a duet exhibition at Le Cirque Galeria in Merida, Yucatan and a number of group shows at other venues.
Her mixed media paintings have found homes all over the world, and hang in collections alongside originals by Miro, Erte, Dubuffet, Ellsworth Kelly, Jim Dine, Jane Ash Poitras, and Benjamin Chee Chee.
Inspired By: Viktor Vega, Robert Rauschenberg, Fernando Garcia Ponce, Antoni Tapies, Massimo Nota, Robert Motherwell, Ali Rashid, Jean Michel Basquiat, Mitchell Clark Meller, Vincent Van Gogh,
Every technical and philosophical facet of my art is committed to the application of mixed media, redefining the term to include concepts and ideas as well as tangible physical materials. This cross-genre pasticcio is born from and dependent on collage, which naturally experiments with subliminality, intercontextuality and the unexpected narratives that emerge from both playful and planned juxtapositions.
Each work is assembled from an unlimited assortment of tools, themes, genres, and inspirations. A work may be created from acrylic paint, gouache, found papers, chalk pastels, oil sticks, wax crayons, graphite, spray paint, poetry, overheard dialogue, religious ritual, music, mythology, television, and etymology.
My expression springs from my insatiable curiousity, bent humour, the intersection of the sacred and inane, and enchantment with the fruits of human innovation and creativity. To this end, an ongoing lifelong study of visual art history, the arts, and the humanities, is essential to my work.
From serene, minimalist abstractions to frantic pentimenti imbroglio, my work embraces appropriation and challenges constructs of genre, colour orthodoxy and technical craftsmanship. But the traditional importance of beauty in millennia of art history is a conviction I share. To obtain beauty in every work, I strive to evoke emotion, achieve mastery of composition, and discover new ways of seeing and defining what is beautiful.
I want to exhibit works all over the world, and have the opportunity to expand my creativity and production with the influence and knowledge and inspiration gained from visiting other countries, meeting the people, and studying the art and history of these places.