Bio

b. Mardi Gras day, 1968 –

Austin, Texas-based painter, Andrea Pramuk, creates organic abstractions by incorporating paint pouring techniques with image lift and transfer and delicate brush work. By responding to the patterns that naturally occur during the evaporative painting process, a complex universal language is not only revealed, but easy to understand, presenting itself as naturally as breathing. Andrea is interested in and studies many branches of science, philosophy, and metaphysics. For inspiration, she takes daily walks, being purely present with the surroundings she happens to be in at the moment. Originally from Baton Rouge, Andrea moved to Austin in 1991 to attend the MFA Program at UT. She first worked in the Austin Public Library system and then pursued a marketing career in art materials before shifting full time to professional artist. She converted the solarium in her home in Southwest Austin into an art studio and workspace that she shares with her musical partner John Orr Franklin (The Distant Symphony) and calico studio assistant M. Grace. Andrea spends any free time caring for her father, volunteering with a local animal rescue group and unsuccessfully growing tomatoes and orchids.

Statement

I have been painting with intent for more than 30 years; it is what sustains me. I am fascinated with cosmology, physics, biology, geology, biocentrism, music, asemic art, ancient cultures – all feed into the work. I don’t claim mastery over any one of these interests except art and materials, but I do look for ways these different disciplines might overlap to create a clearer picture in five dimensions: Length, width, height, inside, outside, plus time. An observer can experience these all at once, almost like the Cubist idea of letting go of the singular perspective since this is not truly how we see or experience the world.

I was raised by non-conformists, one of whom is the professional artist and retired university professor, Edward Pramuk; the other, Mary Pramuk, was a museum professional and curator. My parents decided against a religious upbringing, so my curiosity in various branches of science might be the result of that decision. I approach painting like it’s a science. Making the paintings leads to new research which leads to new paintings; this process perhaps fills a void that others satisfy with religious practices. I let them take me where they want to go. I am extremely open to new information, developments in science and spiritual awareness. My pictures can be meditative, puzzling or stimulating and engaging at a core level because I try to expose the existence of underlying universal systems or a language of randomness that others might also be satisfied by in some way.

“Asemic art…represents a kind of language that’s universal and lodged deep within our unconscious minds. Regardless of language identity, each human’s initial attempts to create written language look very similar and, often, quite asemic. In this way, asemic art can serve as a sort of common language–albeit an abstract, post-literate one–that we can use to understand one another regardless of background or nationality. For all its limping-functionality, semantic language all too often divides and asymmetrically empowers while asemic texts can’t help but put people of all literacy levels and identities on equal footing.” –Finnish artist Satu Kaikkonen, from Asemic: The Art of Writing by Peter Schewenger

“Sharpen the Pencil” by Andrea Pramuk

Find a line, lose a line. Let it dissolve.
Draw a perfect circle, then break it.
Bend a straight line, sharpen its corner.
Keep the edge wet.

Create harmony within discord; capture color with light.
Weave interconnected systems, tracing shape with line.

Pay close attention to imperfection, to the one who is singing off-key.
Turn deep space into flat, and flat space into infinity.
Hold nothing precious.

Illuminate the surface with the transparency of stained glass.
Cover it with shadow when it becomes too bright.
Shade red with green, purple with gold.

Layer color like pools of pressed flowers.
Wait as the beauty fades into morning light.

Start over. Live with the ghost.

Hear the music; visualize the message deep inside.
Keep listening; keep looking until all is quiet and settled down.

Stand and experience this moment as it decays into the past.