(1888PressRelease)
June 16, 2007 - Renowned artist and researcher Keariene Muizz claims the title of “Freud’s Girl” with humor. “One morning I was leaving for the National Library of France, in Paris, and my roommate said, ‘I think Freud is your father figure.’” recalls Keariene, “I just laughed because she was right in a way. I live in my head and Freud gave me an outline into the motives behind the human behaviors I study and depict.”
Keariene Muizz has a spirit that lives on two continents, Europe and North America. It also appears that she possesses a mind that functions simultaneously in two separate but distinct hemispheres: the cold world of left-brain logic and the uneven plane of right-minded creativity, as she combines the theoretic foundation of psychoanalysis to art.
After reading every single document Sigmund Freud has ever published and inhaling more literature than many doctorate students ever embark upon, Keariene Muizz decided it was time to return to California. Back home in Orange County she plunged into the world of “The Uncanny”, an explorative state underlying the emotional impulses of beauty. Qualities Freud himself described early on in the beginning of his essay in 1919 as he elaborated upon the theory of beauty as an investigation into the attributes of feeling.
It is the quality of emotions that Keariene Muizz seeks to clarify in her work. “Freud discussed the consequence of horror as a residue of anxiety. In a sense I combined perversion with beauty in my Speaking Stones exposition.” Ms. Muizz adds, “I can’t think of anything more terrifying than the ability to not communicate an idea. To be exiled, corresponds perfectly to the statues I paint –the inability to speak, move,” she giggles, “and to cover oneself. That sounds like a nightmare to me.”
In 2005, the historic American Psychoanalytic Association acknowledged the depth of research Keariene Muizz conducted in Paris and assigned a mentor, Dr. Susan Donner, to assist the budding mind on her plight. A year later the rising demand for the young artist’s work would become the origin for the Muizz Gallery. “The investors know where I’m heading.” she states.
There is theory and then there is practice, in the life of Keariene Muizz both forces must work together to produce an unparalleled aesthetic realm. However, when it comes to the never-ending race to liberate herself from all forms of imitation Keariene Muizz says passion is underneath everything, “It takes a tremendous amount of infatuation and sovereignty to question forces like solitude and darkness.
Sigmund Freud believed people were captive to infantile anxiety and that they were never truly free because the compulsions of the past are always in the present.” In the end she proclaims, “I know Freud loved women. He left his legacy to his daughter, after all.”
