Krista Mezzadri

Krista Mezzadri explores the movement of repetition, utilizing the juxtapositions of texture and translucency, silhouetted depth and distinct flatness. Her interest lies in the convergence of process and craft, materials, and elements of nature. Rather than replicating the forms of nature, she speaks to our intuitive appreciation of movement and pattern ubiquitous in the natural world, and invites this abstract reflection in the viewer.

Mezzadri’s works maintain a monochromaticity to emphasize the tones, forms, and texture within the transparent layers. Furthermore, she intends the shapes made within the layered additions of ink to add to the composition, and encourages imperfect tactility to become a feature of the message.

"I engage with the coexistence of opposites, therefore my work includes many opposing physical elements together, like tissue and wood, light and darkness, geometry and irregularity. Taken a step further, I’m interested in the meeting point of these opposites, their dynamic dependence, which only alludes to beauty.

In my ongoing body of work, I make monotype prints by hand on translucent washi paper, layer and overlap the sheets, and laminate them together onto wood panels with paste. I arrived at my current process while investigating a way to layer forms in monotypes by utilizing translucent paper, rather than ink, as the layering element. Using tools like squeegees or foam board, I press the paper onto a plate of ink which has been rolled out to a thin film; the ink is picked up on the underside. In this way, my process relies on gestural mark-making. Like all monotype prints, each one is unique; similarly, as in classic printmaking, “ghost” prints can be obtained from the leftover ink on the plate, and I use these in the artworks where I want to emphasize a message of unease and elusiveness. When layered and collaged onto a wood panel with rice paste, the printed sheets dissolve together and in the underlying panel.

Throughout the work is an emphasis on a triangular motif, which I explore by relying on the gestural characteristic of my wrist in action with the tool. Additionally, the overlapped sheets create innumerable varying emotive forms, bringing an organic element to the rough geometry. There are aspects of the layering process that are spontaneous and couldn't be replicated or considered before their immediate genesis; in effect, the imagery is born from the process."

Krista Mezzadri