"Margery Amdur's mixed-media works and installations often incorporate materials such as paint chips, pompoms, paint-by-number patterns, intermingled with hand-cut frosted mylar suspended within layers of poured liquid resin that speak of the impossible separation of our culture view and the natural world. Amdur's elaborately layered works utilize ornament and pattern to reveal the constructed nature of the garden."
- Peter Frank

I am a maker of stuff.  I have a baroque sensibility. I work with common easily accessible materials.  I stretch the meaning of traditional painting to create hybrid objects. I am interested in creating sensuous and visually captivating objects that engage spectators on a purely visceral level.


In my older installation work, I worked with aluminum window screen wire as my primary material-it was very utilitarian but had wonderful ephemeral illusory qualities as well as being a translucent material that if bended and sewn in a certain manner could stand on its own without a more durable under structure. When creating this work, I wanted to make the viewer feel a sense of wonder and perplexity.  For example “This looks like a chair, but there exists no structure that should allow it to stand—what relationship does this object have to the real world?  Is it a ghost, an apparition, a fleeting moment?


In my more current work, once again, I am working with a manufactured commodity. The “Paint-By-Number” template represents some of the ordinary ways that middle class people in the 1950's filled their leisure time. This body of work originated when I bought several “Paint-By-Number” kits, read the instructions, followed them, and continued to purposefully do so over the course of several months. It was during this process that I teased myself back into working with color and on a two dimensional picture plane. Beginning with the template of the “Paint-by-Number” matrix demands that I reflect on where and when “art” starts to emerge when working with a formula. I am interested in the distinction between the “unique” artwork and one that is commercially produced. By working in this manner, I initially feel a sense of relief-just following the directions and seeing what materializes. It becomes a “sort-of” meditation---my mind can wander and other ideas, more personal ones, emerge, percolate, and take over. It is at this point that I take that necessary leap of faith--one where there is room for me to negotiate a visual landscape between abstraction and representation.

With regard to my public art projects, I remain interested in mass produced objects, the two dimensional picture (floor) plane, and images appropriated from “Paint-By-Number” templates. In addition I tackle questions as to how I can stay true to my more “self-evolved” studio practice yet expand it to include a more diverse audience.  How can my personal art-making processes remain laced with nuances when the final product is viewed on a monumental scale? Where is that place where personal meaning intersects with public consciousness, and how do I as an artist creatively reconcile this dilemma?