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Little White Lines      
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Maremi Hooff Andreozzi was born in Winston-Salem, North Carolina and grew up in Alexandria, Virginia. Andreozzi earned a BFA from Cornell University and a MFA from Clemson University. Andreozzi has had solo exhibitions at Glen Echo Park, The Rachel M. Schlesinger Art Center/NOVA, The Torpedo Factory, Radford University, Glenview Mansion for the Arts, Rockville Arts Place, Ritz Carlton Georgetown and The Stimson Center. Her work is in the collection of Restaurant Eve, JD Marriot, DC Commission for the Arts, Arlington County Arts Commission and many private collectors. She lives and works in Alexandria, VA.



Through my work, I strive to push the boundaries of design. Color, line, and shape are realized as pattern to create a visual theatre. I love to explore the harmony and disconnect between the organic and geometric, symmetrical and asymmetrical, cool and warm, fast and slow, dense and airy. I seek out the dichotomy between all these elements.

In the series “ZIP”, I am studying the movement of a single white line zipping and looping through a patterned space. I love how one white line can convey so much energy and character, and am fascinated by how something inconspicuous can dictate the speed and the read of the image. Similarly, I am interested in how your eye identifies pattern and corrects for inconsistencies. Each works is comprised of three fundamental components - line, circle and square. By restricting the “elements”, I hope to highlight the simplicity and combined complexity of the work. The series “ZIP” is a nod to the minimalist artist, Barnett Newman, and his “zip” paintings.

In the “INFINITY” paintings, I am expanding on design and pattern. The abstracted infinity shape is the foundation of the image - infusing stability and continuity. Taking inspiration from design magazines, catalogs and commercial detritus, a design motif is built with patterns, colors and lines. I want to highlight the overlap of these correspondences. Like “infinity” this study is boundless and endless in its variations and adaptations. For me, it offers a limitless quest for aesthetic originality.

In my most recent series, the “Vessel” series, I am examining and reinterpreting historical decorative arts in order to illuminate and raise awareness for the hand made. The vintage vessels serve as points of origin in these images. I find inspiration for the vessels from a diversity of sources such as museum archives, auction listings and books. I’m drawn to craft production that emphases the hand produced. I visualize myself in their theoretical shoes. -The Ming porcelain painter, the Victorian wallpaper printer, Ancient Greek Black-Figure ceramic painter, the Venetian lace maker, etc. What did it mean to be contributing to the arts industry during that time period? Did they see their craft as an enhancement to their community? My work builds on the tradition of cultural appropriation with the goal of elevating and creating a contemporary original.

The history of the vessel and patterns create a rich back story to the paintings. I’m fascinated by the dissemination of artistic knowledge throughout Europe, particularly the porcelain and lace craft. For instance in “Meissen with Neüw Grottessken Scent Bottle”, the scent bottle comes from the Royal Meissen Manufacture of Dresden and is paired with Christoph Jamnitzer’s book of etchings, Neüw Grottessken Buch (New Grotesque Book), published in 1610. The two artistic productions represent German innovation and thinking during the early Renaissance. Meissen was famous for being the first European manufacturer to master the recipe for hard paste porcelain, also known as “White Gold”. This special “recipe” was a guarded secret until the Austrian Du Paquier Company stole three valuable employees and were up and running 8 years later. It is hard to imagine the Oriental porcelain craze that swept Europe due in part to the import trade of the Dutch East India Company. Jamnitzer was an interesting character in Nuremberg, the German Renaissance capital, and the center of Europe for printmaking and publishing. In Neüw Grottessken Buch, he parodies the design flourishes of the time by turning them into demonic animals and twisted figures. Was he influenced by Albrecht Dürer, his Nuremberg predecessor by almost 100 years or Hieronymus Bosch? How was the book received and who was the target audience? How did the Du Paquier Company lure key craftspeople away from their homes in Dresden to Austria? Like an unquenchable Google search, I find the narratives behind the objects and the patterns raise endless questions and ignite my curiosity and imagination. I hope a viewer will be drawn to my images for their beauty and walk away curious and eager to learn more.







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