Shelby Zulli

Painting is language made on surface, not only with paint but expression from the inside; functioning as an intuitive release of the mind, it can be carefully rendered to function as a distraction; indistinguishable and misunderstood by all parties involved.  
 
The facade of relational color, bilateral shapes and random array of brush strokes; is the definition of depth and creates worlds where the looker would be delighted to step inside of; a compulsion, an obligation and a trust. Paintings ignore the current moment and exclusively bring back the past. In order to recognize the work, the mind first suggests emphasizing the past impressions. So inherently self aware that nothing else is remotely possible to accomplish within the psyche.  
 
The paintings describe hazy, unclear space where people of unpredictability exist. The space seems instinctual and pointless; intentional, but irrational. The figure functions as an extension of the maker’s limbs, a way to become more than they are. Painting can operate without the artist, and it does. Confusion and animosity about the actions, the expressions, is laid out on the table by constructing everyday life onto canvas. Activating a signal of significance, while simultaneously leaving the painting in a daze. Selection of the characters are murky, but the motivation could be more clear as the recollections come to.  
 
Because the painting is exposed, decorated and marked, the painting will behave by itself without complaining as it is historically futuristic, primal and always. It is ingrained and forever suggestive. The viewer decides what happens to the limbs after they leave the studio. However, the painting decides how it affects you.