In "Panoramic Patterns," the artist is described as "...a curious media traveler, someone who refuses to let a material’s limitations or its nature stand in the way of her inquisitiveness.”
The review continues, “Each panoramic print has a particular personality, because of the fabrics and colors Creyts selects… Do the fabrics have any meaning outside of color and shapes or do they now only service the photographed and redesigned image? Creyts’ work may not answer these questions and it may not have to. For her, the endgame is not to reveal what the textiles may have meant, but, rather, it’s to manipulate the imagery into a singular and altogether different object."
Dana Self, “Panoramic Patterns,” Kansas City Star, April 21, 2011
“The question at hand: Is assembling a piece of art, and then photographing/extending it into something bigger than the original, a form of copying or the creation of an entirely new work?
…And here, the question in her words: What aspect of my production constitutes the original ? While the photo mural depicts a subject I create, I fashion it so that it is greater than the assemblage from which it started in a variety of ways…
The photo, then, becomes both a record of the original and a new creation in itself… and so, to answer Creyts' question, each piece is an original in its own way.”
Steve Brisendine, "Layers of Newness: mariaurora (Maria Creyts)," ARTKC365 / Review Magazine, April 9, 2011
“…as grown women, we understand what we must do — and what was done in the past — to keep family together, to nurture, and to respect those so-called traditional roles that women play, and moreover, to respect traditional women’s work. The photo friezes at the Leedy-Voulkos address this respect and show another side to tedious dedication: a post-modern labor of love. The photo friezes look innocent enough with their bright colors and highly texturized compositions. But they really beg us to interact and to discover the process through careful examination…
An exciting photo frieze is Spruce, with its crocheted edging and ostrich feathers. It has candy-stripe peaks and embroidered evergreen colored fabric. This particular photo frieze embodies characteristics of a landscape…”
Ashley Ruzich, “mariaurora IN STUDIO AT LEEDY-VOULKOS,” Review Magazine, April 8, 2011
"The World Is My Pearl by Maria Creyts/mariaurora is a large mixed-media wall installation, directly related to pleated clothing or draperies. Emphasis is added by the use of over-sized pearl forms draped over the piece... These elements, coupled with bold patterning, serve to emphasize and highlight decorative elements seen in clothing and accessories."
Adelia Ganson, review of Her Art, Who Does She Think She Is ?, Review Magazine, May 18, 2010
“It really would take an in-person visit to Creyts' new studio, though, to appreciate the sheer scope of her digital photo friezes and to see the original still life arrangements of fabric and lace.
The image above is only an excerpt of Spruce, which is 13 inches high but has its width listed as "variable". Translation: It's long. And if Creyts wants to, she can make it realllly long. (The longest of her works in a recent show in Spokane, Washington, logged in at 16 feet.)…
Looking at Spruce, for example, it's possible to see every subtle shading in the plaid area and each individual strand of fringe. Creyts describes the effect as ‘sumptuous’, and she's right.”
Steve Brisendine, "A Good Day for Frieze-ing: mariaurora Open Studio," ARTKC365 / Review Magazine, December 15, 2009
"Maria Creyts’ work was very interesting in that I hadn’t seen anything like it before. Creating textile pieces that are then photographed and used to create friezes, some stretching as long as 16 feet, Maria’s work takes a few moments to absorb... her images have depths of color and visual texture that shouldn’t be missed."
Tyson Habein, “First Friday ArtWalk,” SPOKEaNe Magazine, October 17, 2009
“(Katie) Creyts' most influential person is her older sister, Maria, also an artist. 'Her work as an artist kind of opened up how to do it for me, not just in the mechanics but how to be dauntless,' Creyts said."
Jasmine Linabary, “Get to know: Katie Creyts,” The Whitworthian, May 10, 2009
"Creyts’ three photo friezes are irresistible.
Part tidy, part tease, 'Bessie Mae/Bésame' (Spanish for 'kiss me') is a 10-foot vertical frieze, where layers of lace, net, tulle and braid dance over candy-striped fabric. Creyts switches to the horizontal with 'Anima' and 'Home Deco.' 'Anima' combines punk pink plaid with a fur-trimmed row of hook and eyes that, writes Creyts, seems 'on the verge of bursting open.' And 'Home Deco' is a delightful flirt with its yellow pompoms, lacy ruffle and damask-inspired wallpaper, which is coquettishly peeling up at the photo’s edge."
Sarah Mote, review of “lacey,” Kansas City Star, November 19, 2008
The review continues, “Each panoramic print has a particular personality, because of the fabrics and colors Creyts selects… Do the fabrics have any meaning outside of color and shapes or do they now only service the photographed and redesigned image? Creyts’ work may not answer these questions and it may not have to. For her, the endgame is not to reveal what the textiles may have meant, but, rather, it’s to manipulate the imagery into a singular and altogether different object."
Dana Self, “Panoramic Patterns,” Kansas City Star, April 21, 2011
“The question at hand: Is assembling a piece of art, and then photographing/extending it into something bigger than the original, a form of copying or the creation of an entirely new work?
…And here, the question in her words: What aspect of my production constitutes the original ? While the photo mural depicts a subject I create, I fashion it so that it is greater than the assemblage from which it started in a variety of ways…
The photo, then, becomes both a record of the original and a new creation in itself… and so, to answer Creyts' question, each piece is an original in its own way.”
Steve Brisendine, "Layers of Newness: mariaurora (Maria Creyts)," ARTKC365 / Review Magazine, April 9, 2011
“…as grown women, we understand what we must do — and what was done in the past — to keep family together, to nurture, and to respect those so-called traditional roles that women play, and moreover, to respect traditional women’s work. The photo friezes at the Leedy-Voulkos address this respect and show another side to tedious dedication: a post-modern labor of love. The photo friezes look innocent enough with their bright colors and highly texturized compositions. But they really beg us to interact and to discover the process through careful examination…
An exciting photo frieze is Spruce, with its crocheted edging and ostrich feathers. It has candy-stripe peaks and embroidered evergreen colored fabric. This particular photo frieze embodies characteristics of a landscape…”
Ashley Ruzich, “mariaurora IN STUDIO AT LEEDY-VOULKOS,” Review Magazine, April 8, 2011
"The World Is My Pearl by Maria Creyts/mariaurora is a large mixed-media wall installation, directly related to pleated clothing or draperies. Emphasis is added by the use of over-sized pearl forms draped over the piece... These elements, coupled with bold patterning, serve to emphasize and highlight decorative elements seen in clothing and accessories."
Adelia Ganson, review of Her Art, Who Does She Think She Is ?, Review Magazine, May 18, 2010
“It really would take an in-person visit to Creyts' new studio, though, to appreciate the sheer scope of her digital photo friezes and to see the original still life arrangements of fabric and lace.
The image above is only an excerpt of Spruce, which is 13 inches high but has its width listed as "variable". Translation: It's long. And if Creyts wants to, she can make it realllly long. (The longest of her works in a recent show in Spokane, Washington, logged in at 16 feet.)…
Looking at Spruce, for example, it's possible to see every subtle shading in the plaid area and each individual strand of fringe. Creyts describes the effect as ‘sumptuous’, and she's right.”
Steve Brisendine, "A Good Day for Frieze-ing: mariaurora Open Studio," ARTKC365 / Review Magazine, December 15, 2009
"Maria Creyts’ work was very interesting in that I hadn’t seen anything like it before. Creating textile pieces that are then photographed and used to create friezes, some stretching as long as 16 feet, Maria’s work takes a few moments to absorb... her images have depths of color and visual texture that shouldn’t be missed."
Tyson Habein, “First Friday ArtWalk,” SPOKEaNe Magazine, October 17, 2009
“(Katie) Creyts' most influential person is her older sister, Maria, also an artist. 'Her work as an artist kind of opened up how to do it for me, not just in the mechanics but how to be dauntless,' Creyts said."
Jasmine Linabary, “Get to know: Katie Creyts,” The Whitworthian, May 10, 2009
"Creyts’ three photo friezes are irresistible.
Part tidy, part tease, 'Bessie Mae/Bésame' (Spanish for 'kiss me') is a 10-foot vertical frieze, where layers of lace, net, tulle and braid dance over candy-striped fabric. Creyts switches to the horizontal with 'Anima' and 'Home Deco.' 'Anima' combines punk pink plaid with a fur-trimmed row of hook and eyes that, writes Creyts, seems 'on the verge of bursting open.' And 'Home Deco' is a delightful flirt with its yellow pompoms, lacy ruffle and damask-inspired wallpaper, which is coquettishly peeling up at the photo’s edge."
Sarah Mote, review of “lacey,” Kansas City Star, November 19, 2008
writing by Maria Creyts
A review of Francisco Toledo's two Kansas City exhibitions and discussion of influential contemporary art in Oaxaca, Mexico: ARTE Y OAXACA
A review of Francisco Toledo's two Kansas City exhibitions and discussion of influential contemporary art in Oaxaca, Mexico: ARTE Y OAXACA
Review of Kim Jongku's work at the Spencer Museum: SPELLING OUT A LANDSCAPE
Ian Davis: Faith in the Future at the Kemper at the Crossroads: CONCERNS OF MEN
Faraway Nearby • Addressing Suburbia at the Nerman Museum: BORN TO KNOW A SUBURBAN U.S.A.
About batiks collected by Ann Dunham: BATIKS OF FAME, Collection offers cultural insight to "textured soul of Java"
Review of work by Holly Swangstu at the Albrecht Kemper Museum: BRIGHTNESS, WARMTH ENVELOPING
