The White Columns Curated Artist Registry is an online catalog of digital images documenting the work of artists who are not affiliated with a commercial gallery in New York City. Each submission is reviewed by our curatorial staff; in order to be considered for the registry, one must submit work digitally via this website.
His process is photo-based and culminates in a burst of performative, expressive mark making. Images of female stars and anonymous men, “John Doe’s,” are altered via Photoshop and printed onto canvas or fabric. These images serve as a ground to Mramor’s abstract, aggressive swaths of various types of acrylic paint, from thickly applied gel medium to thin as air spray paint. The gestural strokes maintain a verbal quality, reacting to a perceived relationship, situation or conflict.
Starting in 2012 he has worked extensively with two photographs of the his late mother, one lying on a bed and the other in three-fourths profile, a bust in two dimensions. The images recall various art historical precedents, from Manet’s Olympia to the “rampant gisante” of Picasso’s Demoiselles D’Avignon to Mantegna’s Lamentation of the Dead Christ. The portrait view mimes both beauty pageant headshots and Greek sculpture. Mramor’s diverse vocabulary of mark-making obscures and idolizes these figures, investing in them a psychological charge while simultaneously dissolving them, firmly relegating these images to ground, rather than figure.
Mramor also has an extensive performance practice under the guise of Enid Ellen, a post-gender feminist singer-songwriter with regular shows at Joe’s Pub, Piano’s, and other NY institutions. Many of the newest work is pulled stills from these performances and videos.