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Years ago, Masik was intrigued by the notion that the average person spends but a mere 3 seconds looking at a painting in a gallery setting. The artist was thus inspired to create a collection, which required more from its viewer; challenging apathy, and encouraging a dialogue between art and eye. ‘The Requiem’ collection sought to evoke a visceral quality, which adheres to the viewers thoughts and emotions, and where no viewer is exempt from feeling, regardless of their affinity for art.

The conception of ‘The Engagement’ collection touches upon the challenges that even a 21st century artist faces: ones right to artistic expression, often hindered by gallery censorship. Explicit imagery is concealed behind both the tactile and psychological layers that are carried through by Masik in a series of paintings which highlight her ability to improvise upon encountering any road block along her journey.

Revising those images that had once been censored, the ‘Caged Bird’ collection seduces its viewers with outward personal expression as it delves into themes of masculinity and femininity, and sexuality. It pushes the boundaries of our preconceived notions of the body and what it has the ability to convey, be that a sense of power, vulnerability, or a form of communication unachievable with simply written or spoken word. Elaborating upon her work to that point, the images we see in ‘Caged Bird’ utilize Masik’s remarkable use of mixed media, incorporating elements of collage, oil paint, and resin. Furthermore, much like surrealist writings founded in the stream of consciousness, an automatism in the movement of Masik’s painting style explores a compelling level of spontaneity and whimsy.  ‘Clean Dirty Girl’ perhaps best exemplifies these many components that made the ‘Caged Bird’ collection a point of extreme intrigue for artists and admirers of art alike at Art Basel Miami, 2010.

Masik’s growing interest in mixed media is highlighted in the ‘Revelation’ collection, where complex textures shine amongst the dreamy resin coated explorations of classic mythology as the artist reinvents works by the masters. Masik’s ‘Ophelia’ lay upon deep hues of blue and green, unable to utter a word, a ball-gag held tightly by her lips. The take on Millais’ own ‘Ophelia‘  also blends elements of 60’s pop art à la Rauschenberg with its’ inclusion of the artists own gloves. These gloves work both as a creative representation of the foliage within the image, as well as an insertion of the artist herself, into the painting. The complexity of these works does not stop here. ‘Revelation’ marks an exciting moment in Masik’s career where her interest lay in marrying the art of performance with the beauty of an attainable afterthought. This often led Masik to her studio during her time creating the pieces from ‘Revelation’, working on those unresolved elements of her performance art, and honing a process which ushers the viewer into the very premise of her current collection in the making.

And here we are today. Throw yourself into brush strokes guided by the fervor of automatic painting in ‘Corkscrew Follies’ and look for the many signs of Masik’s unique hand amongst this new body of work that, at a glance, may seem to be a departure for the artist. However, when you give it more than 3 seconds, you just might find yourself seeing everything fall into place.

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