Artista Mary Iverson exquisito paisaje con un toque contemporáneo de gran nitidez.

                                          Mary Iverson 
         
                             Exquisito paisaje con un "toque"                                      Contemporáneo de gran nitidez
      

On the surface, we see activism, her collages and paintings warning us of a dystopic future existence. But the truth is, this apocalypse is happening now. Through her paintings of rogue shipping containers invading precious, untouched vistas, she uncovers the gross excess and collateral damages of the shipping industry, and ultimately, commercialism.                All along, humans seemed to be extinct in this cataclysmic world she had been rendering, and then suddenly, we appear. Humankind was there the whole time, but the artist and her viewer didn’t know it until now. The paintings are as much about our ecological problems as they are about our recovery from personal upheaval. Exactly four years after our last interview, I caught up with Mary Iverson at a significantly precarious time when her paintings have taken charge of their own destiny as they reflect our reality

                

                         Steam. Acrylic, ink and found photography on panel, 8" x 10", 2015

Mary Iverson fills natural and manmade landscapes with colorful shipping containers, objects haphazardly stacked on each other and taking up a majority of the otherwise tranquil scenes. The containers and boxes are cross-hatched with overlaid lines, connecting them a predetermined pattern seemingly known only by the artist.

Iverson explains her work by saying, “My paintings are colorful abstractions that spring from the theme of the industrial shipping terminal. The canvases feature mass accumulations of shipping containers and container cranes in various perspectives. My work employs a network of searching perspective lines and layers of interlocking, colorful planes and rectangles that suggest both deep space and flat surface.”art painting and part collage (the pieces often incorporate found photography), her artworks address what happens when globalization and the environment collide, material possessions doubling and tripling until they spill into the natural world around them. The Seattle-based painter gathers the bulk of her source imagery for her sketches through yearly trips to parks across the country, camping and photographing the landscape around her.

here was a landslide here in the Northwest. It was tragic and took out hundreds of homes, and people died. And these interviewers would ask the locals, “What’s the good thing that’s come out of all this? How has this benefitted your community?” And I wonder why this question comes up. Trying to get people to say this tragedy has brought communities together is such a false premise. Of course we’re going to band together, help each other, walk through the rubble and sort through this, but it’s not like the tragedy was good for us.

Last time we talked, your paintings made people think you predicted the tsunami in Japan, and the new work evokes thoughts of the earthquakes in Nepal.

It’s the times. We can’t help but reflect our times and what’s around us. The events and our environment, we’re going to address our reaction to all that stuff.

                                     visita  http://maryiverson.com/