SLIKAMILINA
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My paintings begin with chaos. Oh! I have so much fun making that mess. I spatter and spray,
dribble and collage until chaosabounds. Then I sit back and look. The looking can take minutes or
days. When I see what the paint tells me to paint I begin theprocess of organizing the chaos with
value, line and color. The result is an expression which comes from my heart. It wouldbe easy to
edit out all that is meaningful by judging an inspiration as too sentimental, too complicated, funny
or justplain too crazy to paint. Wrestling with both angels and demons, I paint a world with my
own unique symbolic language..
Painting affirms from my love of the tactile world, the world of surfaces, and the inner world of emotions.
The paint becomesmy micro-universe where I play with textures, rhythms of line and patterns of form,
and, more importantly, the duality ofcreation and destruction. I layer the paint and images to create real
depth in the pictorial surface. Primitive art inspires mywork in its disregard for anatomical correctness and
illusionary effects of perspective.
An Egyptian frontal view of the shoulders,an Aboriginal dot, an Assyrian
eye facing forward in a facial profile and an Anasazi headdress can all be found in my work.Much inspiration
comes from the work of Paul Klee, Picasso and Chagall who were each inspired by primitive art.
The imagery sometimes reflects the outer world of my life in Utah with my family or friends, but more
accurately is a reflectionof the inner experience of this mad and joyful journey called life.
I wonder about this “humanness” I share with all thepeople who have come before me and who will come after me. Through
these simple drawings and rich layering of texture,the painting speaks beyond culture and time, exploring simple
relationships. They explore the places where myconsciousness overlaps and merges with the consciousness
of others and my search for wholeness and connection isreflected in a symbolic language others can
easily experience.
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