Love seeing my piece ‘Tell it again’ in the latest @frogmagworldwide alongside some very cool textiles / art !
Theme for the issue was the bed 🥱💤 and tagged some of my favs from the issue!
‘Tell it again’ is made of children’s nightgowns, flattened out using intense + repetitive stitch work. I hated it by the end but in retrospect, I was being blinded by never-ending stream of white thread & needed to put it away for a while after I finished 🦷
Scrap quilt collab with @zoegustaviaannawhalen , based off a quilt made by Zoe’s great great grandmother morris. Composed of scraps from her latest collection, Saturn Return.
An old documentation sheet of my work and collection since I constantly rip and remake my work. Really want to keep recording this process but we shall see.
I’ve already changed quite a few a things if you see anything familiar 😵💫🤓
Mom. I’m OK. 2020.
RCA 2020 Show.
. . . . . . . . . . . . . . . . . . . . . . .
ISN’T IT AWFUL?
“Mazlyn Ortiz is an artist investigating the state of denial and the power of fear within society, resulting in commentary that revolves around childhood.
Ortiz’s work consists of found objects that are warped into a narrative using traditional textile techniques. The materials and process of manipulation explores how the innocence of childhood is the only place for true individuality.
During the COVID-19 pandemic, Mazlyn Ortiz found sanity within repetition whilst projecting the heavily layered issues surrounding the current climate onto her work.
Ortiz used abstract forms and mark-making to display frustration and vulnerability. Casually approaching the techniques with a child-like sense of abandonment, stripping down to a layered narrative that is left to be found and picked up again by the viewer.
The use and contrast of the ‘found object’ tries to communicate not only what it once was, but how it motivates one to act in a certain way. “
The random details and sense of disarray within the resulting structures brings something hauntingly familiar, whilst conveying the viruses' effect on society and the individuals within it.”
All I Want Is A Pepsi. 2020.
RCA 2020 Show.
. . . . . . . . . . . . . . . . . . . . . . .
ISN’T IT AWFUL?
“Mazlyn Ortiz is an artist investigating the state of denial and the power of fear within society, resulting in commentary that revolves around childhood.
Ortiz’s work consists of found objects that are warped into a narrative using traditional textile techniques. The materials and process of manipulation explores how the innocence of childhood is the only place for true individuality.
During the COVID-19 pandemic, Mazlyn Ortiz found sanity within repetition whilst projecting the heavily layered issues surrounding the current climate onto her work.
Ortiz used abstract forms and mark-making to display frustration and vulnerability. Casually approaching the techniques with a child-like sense of abandonment, stripping down to a layered narrative that is left to be found and picked up again by the viewer.
The use and contrast of the ‘found object’ tries to communicate not only what it once was, but how it motivates one to act in a certain way. “
The random details and sense of disarray within the resulting structures brings something hauntingly familiar, whilst conveying the viruses' effect on society and the individuals within it.”
You’re Not Thinking. 2020.
RCA 2020 Show.
. . . . . . . . . . . . . . . . . . . . . . .
ISN’T IT AWFUL?
“Mazlyn Ortiz is an artist investigating the state of denial and the power of fear within society, resulting in commentary that revolves around childhood.
Ortiz’s work consists of found objects that are warped into a narrative using traditional textile techniques. The materials and process of manipulation explores how the innocence of childhood is the only place for true individuality.
During the COVID-19 pandemic, Mazlyn Ortiz found sanity within repetition whilst projecting the heavily layered issues surrounding the current climate onto her work.
Ortiz used abstract forms and mark-making to display frustration and vulnerability. Casually approaching the techniques with a child-like sense of abandonment, stripping down to a layered narrative that is left to be found and picked up again by the viewer.
The use and contrast of the ‘found object’ tries to communicate not only what it once was, but how it motivates one to act in a certain way. “
The random details and sense of disarray within the resulting structures brings something hauntingly familiar, whilst conveying the viruses' effect on society and the individuals within it.”
