Kenneth Marunowski
BoldBrush Recommends: Kenneth Marunowski
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BoldBrush Recommends: Kenneth Marunowski
Biography
Kenneth Marunowski is an artist, educator and writer who lives and works in Bend, Oregon. Hailing from Cleveland, Ohio, Ken grew up enjoying the cultural amenities of a big city and the spaciousness of the Cuyahoga Valley National Park. Marunowski's passion for culture and nature took him to Kent State University where he received degrees in French and Painting, the beginnings of a lifelong investigation of language and image. A pivotal junior year abroad studying both subjects in Aix-en-Provence, France deepend the young painter's appreciation for culture, language and art. Years later, a Master of Arts in English as a Second Language provided Marunowski an opportunity to teach in Dresden, Germany before returning to Kent State to pursue a Ph.D. in Literacy, Rhetoric and Social Practice. Following his doctoral degree, Marunowski taught professional writing at the University of Minnesota Duluth for several years before dedicating himself completely to his painting practice. Now a full time artist, Ken shares his rigorous pursuit of abstract and representational painting not only through the works he creates but also through teaching both privately and publicly. Ken was also recently appointed Associate Teacher and Program Administrator of the Painting School of Montmiral in southwest France.
ARTIST STATEMENT:
Risk-taking, curiosity, intuition, problem-solving, physical engagement, spontaneity, abandon: these are among the elements that go into every abstract painting I create, elements that comprise what I refer to as a "spirit of play." There are few guides to my process, particularly in its early stages, save perhaps a color relationship or gesture to explore. Habit dissolves while play takes center stage, allowing each painting to become an exploration of possibilities. My canvases measure in feet rather than inches, an expansive, open arena for artistic inquiry during which I employ a variety of mark-making tools (brushes, scrapers, rags) and seek novel color juxtapositions and harmonies. The absence of referential subject matter both reduces and increases the complexity of my work. On the one hand, I am not required to reproduce any degree of likeness, which seems to make my task easier as it allows me to focus on fundamentals like value, hue, composition, texture and form. On the other hand, without an external referent to guide my decision-making, everything is left for me to discover, an open-ended process of creating something from nothing. Such an approach is my current artistic preference: To look within, find something to grasp onto, and explore it to the fullest, permitting the painting to speak to me, to suggest what it next needs to become a unified whole.
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