Artist StatementImperfection. Surface. Time. Transformation. These are seeds of my inspiration. Every image is part of an organic unit that is a continuously growing body of investigation. Each work represents a stage of growth essential to the development of succeeding work. Aspects of imperfection, surface, time, and transformation are interconnected, and they help define each new chapter of exploration. The Land series investigates subtleties of human interaction, imagination, and transience through a network of organic linear forms that are continually emerging, growing, reaching, and intertwining. The series begins as a study of delicate balance between positive and negative space, between what is visible and invisible, by way of quiet but intricate panoramas. While the forms are invented, they suggest such things as rhizomes, ribbons, neurons, or strands of muscle tissue. My intention is for the images to waver between definition and ambiguity, inviting the viewer to discover a unique interpretation and association. The Excavation series begins digging below the ground to reveal a subterranean network of colorful forms. In creating these images, I imagine building and traversing paths between observation and invention, logic and emotion, similar to a mind filled with thoughts that sprout and extend, curl and unfurl, tangled like a mass of unwound string or a clustered mound of roots. The Ascent series follows the forms on an upward climb into airy, sky-like negative space, as variations in movement and tension suggest infinite possibilities, overlaps, endings, and beginnings. In Buoyant and Mirage, the forms float above and move through water-like space. I imagine the forms sinking, swimming, and floating. I imagine them adjusting and adapting as they transition between water and air. They submerge and emerge, changing in color and visibility, and I compare these transformations to changes in perception and understanding that result from slight shifts in perspective. I completed the Évoluer series, a continued study of the forms, during my summer residency at La Porte Peinte in Noyers, France. I am interested in exploring possibilities for differences in physical characteristics of these forms, such as width, color, weight, and surface texture, to provoke a variety of interpretations. Some seem like leaves and stems, some like wire and tape, and some like soft ribbon or fiber. Similarly, I am interested in exploring variations in the space around the forms. I intend to create illusions of depth in indefinite but vast surrounding spaces. The strands might be my (or your) emotions or mounds and tangles of abstract thought. Or, they might be strings of sentimental memories, overlapping and confusing one another. Or, they might be to-do lists yet to be written, fears not yet confronted, or knots waiting to be untied. Art-making is not isolated to the studio for me; rather, it is a manifestation of my thinking process, a creative byproduct of my other experiences. I draw inspiration from all aspects of my life, and I continue to seek new input from observations in nature, culture, interaction, and reflection.
Tanya Ziniewicz investigates subtleties of human interaction, imagination, and transience through a network of organic linear forms that are continually emerging, growing, reaching, and intertwining.
Her images build and traverse paths between observation and invention, logic and emotion, similar to a mind filled with thoughts that sprout and extend, curl and unfurl, tangled like a mass of unwound string or a clustered mound of roots. The forms are invented, stemming from things such as rhizomes, ribbons, neurons, or strands of muscle tissue.
Tanya earned a BFA in Drawing from Cleveland Institute of Art in 2003 and an MFA in Printmaking from Rhode Island School of Design in 2006. She currently resides in Baltimore, MD and has been teaching at Towson University since 2008.