Liliane Tomasko

Portrait of the Self, the inaugural solo exhibition of Liliane Tomasko at Nino Mier Gallery in Los Angeles, comprises an absorbing suite of large-scale paintings and works on paper that embody webs of virtuosic gestural brushwork rendered in an expansive range of crepuscular and vibrant hues. An assured compositional dynamic prevails these airy, painterly and lyrical abstractions executed by means of the graceful spontaneity of the artist’s hand. Through the medium of acrylic and acrylic spray, Tomasko has transformed planar surfaces into illusive spaces replete with chromatic translucence, chance and volatility.

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For Liliane Tomasko, the subjects of memory, dream, and reverie, which have deep roots in her slow, intimately made vignettes of domestic spaces eventually transpired to the synthesis of light and space of the mind, and of nature illuminated from within. Although there were evidences tracing from such slow movements of objects depicted in the once given and familiar domestic settings, to swift deviations of wind, air, and color of the outdoor, what Liliane has been undertaking in her new pictorial pursuit is evidenced in her recent exhibit Name Me Not at Centro de Arte Caja de Burgos (CAB) in Spain.

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Liliane Tomasko employs a very different way of reflecting the inside of ourselves in what she calls the “record of a visceral subjectivity.” “The subconscious is an unstable beast, and does not want to be reasoned or conquered.” The night emerges as a pictorial territory crossed by a misshapen magma. Beneath the surface of the tangible world “we know that there is something else, a dark matter that shapes our lives and our actions, our interactions with the world we live in,” the author tells us. 

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