1. FAENZA relief on porch, (acrylic paint on styrofoam)1990,


12. WAVE CAVE, 1998,

32 x 24 1/2”

23. DECO DEMO, 2004,

36 x 26 ½”

2. WISHBONE, 1990,

37 x 30 ½”

13. CIPHER, 1998,

23 ½ X 17”

24. HULA-POPPA, 1994,

20 X 48”


48 x 48”

14. VIRAL, 1999,

31 ½ x 37”

1b.Cube, 1990,

22 x 24”

4 DISCUS, 2004,

27 x 17”

15. WILL AND GRACE, 2001,

36 x 27”

2b.Tropicolor(Diptych), 1995,

14 x 32”


60 x 48”

16. PAJAMA GAME, 1997,

30 ½ x 30 ½”

3b.Volcano, 2004,

27 x 17”

6. LINEAR B (diptych), 2001,

48 x 108”

17. ALOFT, 1994,

21 X 22”

4b.Renzo, 2001,

27 x 39”

7. NIGHT OWL, 1997,

63 x 20”

18. UMBRIA, 1995,

21 ½ x 22 ½”

5b.Edible Rex, 1991,

23 x 16"


25 X 25”,

19. QUARTER MOON, 1994,

17 X 16”

6b.Great Northern sold, 1990,

18 x 20"


9. DORIC, 1996,

18 1/2 x 23”

20. CHAIN O’ LAKES, 1999,

48 ½ X 17”

7b.Cloud Nine, 1994,

26 x 32"


60 X 48”

21. BEL AIR, 2001,

27 x 36”

8b.Ektar, 1991,

18 x 20"

11. VARIATEASE, 1900,

48 X 48”

22. CAT’S EYE, 1997,

16 x 19”,

Roger Kizik - Interview

by Lois Tarlow, Art New England, April/May 2000

Lois Tarlow:
Tell me about these book paintings that are hanging's an interesting idea that the paintings be book shaped; they give a strange illusion of two-and three-dimensions at the same time.

Roger Kizik:
When books appear in still lifes, the surroundings are often just a pretext to present the book.

Lois Tarlow:
So, you deleted the setting. When did you do that abstract painting that was in the [Fuller Museum of Art Ninth] Triennial?

Roger Kizik:
About two years ago. I just finished a similar one. I go back and forth between abstraction and realism, which must confuse people. They probably think, "What is he about?" I'm also drawn to things in my life, such as interiors of this [studio] place. I built it with an eye towards how areas would look in a drawing. On the other hand, I always have a curiosity for the abstract unknown where you plunge in and make your own rules or forget about rules altogether. Gerhard Richter is a good model for going back and forth from abstraction to imagery.

L. T.:
The paint [in your work] is knee-deep. You do them on the floor?

Yes, even the large ones from the seventies and eighties were all done flat. I made a bridge to kneel on that could move back and forth over the canvas, [and is a development] in the last four or five years...These have a base of flat, white latex that I tint with tube colors, because I sometimes want a matte surface as a foil to the glossy, metallic layer. Working this thick is practical only for a small size. In the early eighties and early nineties I used squeeze bottles. I'd mix up about twenty colors and actually draw with them.

L. T.:
Some of these book paintings are conventional rectangles and not book-shaped.

I did four of them from Peterson's book on Mexican birds. I was at the Audubon shop flipping through some guides and was struck by the vitality...I do books that are personally significant to me, like the biography of Kafka.

L. T.:
Since [they are] acrylic, you must work quickly, especially when you are incising or squeegeeing into the paint.

It doesn't have to be done in minutes, but you couldn't leave it for days and come back and use a squeegee on it. I spray the surface to keep it wet. When it's this thick, it stays liquid for a while. To freeze the surface and not have blending, I put a fan on it.

L. T.:
Do you ever use preliminary sketches?

I do, but they get altered in the process.

You have many books and catalogs on artists. Who are your favorites?

It's hard to narrow it down - Morandi, Matisse, Picasso, Stella, Tintoretto. I saw a lot of Tintorettos on two trips to Venice. With his directness, he was the Manet of his time. I love the catalog of the Rothko show but was disappointed with the recent exhibition. The first retrospective, years ago at the Guggenheim, struck home. But the recent Pollock show held up fabulously.

You must enjoy Manet.

Absolutely. It's his felicitous nature and vitality. He's always probing. He has a perspective on life that's like a game to him. He came from a bourgeois family, and he's always style-conscious, but he respected the integrity of the touch and the act. He always needed a model. He had a poor visual memory...[and although] he used photo images...he relied on models, even for the Maximilianseries. Not trusting his own talent, he got soldiers to pose. Somehow, he made great art out of a lesser talent. It's hard to explain. Her remains accessible in the way Matisse is accessible. To me, Matisse is like a pottery painter. Picasso's abilities are really daunting, whereas Matisse is more...down home.

Have you ever had a year off just for your work?

I did. I won three Artists Foundation Grants and with the last one I was able to take off more than nine months. It was great to be down here day-to-day.

You really look like you belong here.

I'm content to have my roots here - the town, the bay. I travel around the area and always want to come back here. You can swim in the water, and it's a very forgiving coastline, not as rugged as Maine, but I like the softness of it.

It's serene here. But your work continues to be explosive.

Yes, I'm still a conflicted soul. I still have a desire to explore and to be measured by my abstractions, like the one that's drying on the floor.



For sure, one of the things you know immediately when looking at Roger Kizik’s pictures is that he took full pleasure in the making of them. It’s obvious in the subjects he returns to again and again in his realist-type work, the ones referenced in favorite books and boats that represent abiding passions, in the stately shingle houses that rise along the Southeastern Massachusetts shore where he keeps his studio. But it’s equally clear in the abstractions he’s produced for thirty years, in their creamy surfaces and exuberant color, in the effortless dexterity of their drawing. Such pleasure so candidly offered becomes an invitation to go where the artist has gone and to see what he has seen … to explore and discover for ourselves the territory mapped by his pictures.

With Roger’s images of books and boats and houses we’re generally familiar, we recognize the signposts; whatever extent to which he has personalized them, which often conjoins recognition with surprise, we nonetheless feel comfortable with having encountered them … just as he seems to have encountered them … in moments of solitude or during leisurely outings of our own. By comparison, the abstractions offer a vastly different experience. What signposts there are … a patch of sea or sky hinting at spatial recession, an amoeboid shape that might be seen in a dream or under a microscope … are fragmentary and elusive, leaving us to cruise in uncharted waters and soar above terra incognito. Our passage through territory is likewise challenged … we hasten across linear networks, we pause upon areas of pure color, we drift and jostle in indeterminate space. In response, our range of feeling is accordingly stretched and heightened, satisfied at one moment, confounded in another, anxious about what the next turn or tack might bring but always eager to move on. In such ways do the abstractions transcend exploration and discovery and reveal adventure as paramount in the art making process. The pleasure Roger takes in the adventure is obvious, yet he shares it in ways that enable it to be ours as well. He’s referred to his abstract pictures as odysseys, which they surely are… but I equally think of them as gifts.

Carl Belz,

Director Emeritus of the Rose Art Museum at Brandeis University

BIOGRAPHY - Roger Kizik

1945 Born in Boston, MA
1994 - now Lives in South Dartmouth, MA


1963 Medford High School, Medford, MA
1964 - 68 U.S. Navy
1992 BFA, Massachusetts College of Art Boston, MA

Selected One Person Exhibitions, 1990-Present

"Rowing to Eden: Paintings," Nielsen Gallery, Boston, MA
"Recent Paintings," Atrium of the University Art Gallery, University of Massachusetts Dartmouth, North Dartmouth, MA

"The Abstract and the Particular," Dartmouth Town Hall, North Dartmouth, MA

Nielsen Gallery, Boston, MA

"Embracing the Personal," DeCordova Museum and Sculpture Park, Lincoln, MA

Selected Group Exhibitions, 1990-Present

"Visual Memoirs: Selected Paintings and Drawings," Rose Art Museum, Brandeis University, Waltham, MA.

"In the Spirit of Landscape IV," Nielsen Gallery, Boston, MA
"The Ninth Triennial," Fuller Musem of Art, Brockton, MA
"Landscape: Views & Visions," The Brush Art Gallery, Lowell, MA.
Exhibition in Tribute to Stephen D. Paine, School of the Museum of Fine Arts, Boston, MA

"In the Spirit of Landscape III," Nielsen Gallery, Boston, MA
"Audubon Legacy - vault series: birds" New Bedford Art Museum, New Bedford, MA
New England Biolabs Exhibition
Boston Public Library Prints Exhibiton
"Inviting the Unknown," New Bedford Art Museum, New Bedford, MA

"In the Spirit of Landscape II," Nielsen Gallery, Boston, MA

"direct contact: The Abstract Edge, Robin Dash, Roger Kizik, Rose Olson -- recent paintings," Cragin Fife Gallery, Brookline, MA
"Ordinary Object - Extraordinary Experience," Summer Invitational, Nielsen Gallery, Boston, MA

"Separate Visions," Danforth Museum, Framingham, MA

"Take Five," Brickbottom Gallery, Somerville, MA


Boston Public Library, Boston , MA
Currier Gallery of Art , Manchester, NH
Danforth Museum, Framingham, MA
DeCordova Museum and Sculpture Park, Lincoln, MA
Fidelity Investments, Boston, MA
Fuller Museum of Art, Brockton, MA
Medi-Tech Corporation, Framingham, MA
Harry Miller, Inc., Roxbury, MA
Lemuel Shattuck Hospital, Jamaica Plain, MA
Rose Art Museum, Brandeis University, Waltham, MA
Wellington Management Company, Boston, MA

Selected Bibliography, 1990 - Present

Belz, Carl. "Visual Memoirs: Selected Paintings and Drawings," Rose Art Museum, Brandeis University, 2000 (catalog).
Komperda, Kim. "Separate Visions: A Diverse View of Contemporary Boston Art,"Art New England, March, 1991.
"Roger Kizik at the DeCordova Museum," Art in America, February, 1992.
Lucciola, Lorraine. "Different Strokes," Friday! Greater Fall River's Guide to Weekend Fun, The Herald News, January 3, 1997.
Temin, Christine. "Perspectives: Take Five," Boston Globe, Wednesday,October 17,1990.
"Playing Around: Toys by Artists", "Embracing the Personal: Drawings by Roger Kizik," Boston Globe, Wednesday, February 20, 1991.
Unger, Miles. "Regional Reviews: Massachusetts," "Painting Between Metaphor and Matter," Art New England, February, 1991.

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