The most recent exploration for artist, Carrie Marill, focuses on a collaborative relationship. The thin line that marks the difference between sculpture and painting. Inspired by artist Jean Arp, known for examining early concepts of sculptural painting himself, Marill found interest in their awkward existence on the wall. Not quite painting, not quite sculpture. In a more evolved sense, Marill has created built upon paintings based off geometric designs. Not only does Marill trek the boundary between three-dimensional work, but the process in which she constructs her work also questions the standard mode of creation.
Through a collaborative relationship between technology and the handmade, Marill attempts to intermix the two, eliminating the markings of both. Marill utilizes technology to cut the lines of her pieces, painting the remaining. As she relies on technology for the foundation of her work, Marill continually tries to polish her painting in order to look akin to the technology, as well as scrutinizing technology to make it look more handmade. This competitive relationship results in finite geometric abstraction that further refines Jean Arp's original intent.
A split from Marill's more figurative work, these "sculptural paintings" delve into a middle ground of medium. Neither here nor there, Marill's study into these "paintings" cue a technological involvement that offers a new look at the possibilities, as well as the artistic struggle.