Mariana Oushiro's pictorial language is rooted in the choreography of

movement and shaped by the artist's ability to remain exquisitely in

tune with her paradigm. Her marks are powerful and precise, with the

flow of each stroke revealing a simultaneously cerebral and intuitive

approach to line, color, and composition. At the same time, her works

exhibit a distinctively raw materiality, giving the viewer an intimate

effect that derives from their own interpretations.

Oushiro paints on a grand scale. Starts Laying and stretching cotton

canvases flat on the studio floor, she moves around the plane and

engages with the surface of the work. Tracking her feet across the

canvas, kneeling within the composition, she creates sweeping curves,

sharp parallel line, and rhythmic spatial planes in charcoal, pastels,

pigments and oil paint creates the foundation of the painting. She

often uses her hands to move the medium within the composition at this early stage, finding the composition from the ashen, coalcolored cinders of charcoal dust in soft smudges and smeared

imprints on the picture ground.

Oushiro draws inspiration from elements of the natural world within.

Space is a necessity to achieve contact with the natural order imprinted in our subconscious and achieved conjuring practice, dedication and inclination to the art of seeing it.

To bring it out. It is a practice that requires as little as meditation does- but her discipline is everything.

She moves upon her impressions of the sensation of buoyancy in water, sacred geometries, growing threes and flowers, architecture structure,and science. In her mind, those are complementary parts of this big puzzle that sometimes can become art and are intertwined in this pattern called life. Her families' heritage, originating in Japan and Brazil, informs her connection with earth. Growing up on the country side of Brazil has shaped the development of her believes- an experience so close to earth and open fields from her early years became her knowledge for the paintingS that starts on the ground to unite and unify form and is lifted and onwards which she sees as very much like the cycle of a seed - is radical freedom. These visuals are not static but rather kinetic elements to continue to evolve. Either on that surface or another, either way, forever.