art
about
MASHA ABSINTHE explores the intersection of spontaneity and conformity through abstract visual narratives. Working from Malevich's revolutionary Black Square toward the gestural freedom of Japanese calligraphy and Abstract Expressionism, while embracing Concrete art's mathematical precision, the work investigates how absolute reduction, systematic structure, and expressive gesture can coexist.
@theLumbrion serves as both alter ego and artistic lens—a space where proportions shift, silhouettes emerge from color, and meaning hovers between the transcendent and the unhinged.
story
My journey began with Malevich's Black Square—that radical moment of pure reduction, where art reached its zero point. From this foundation of absolute form, I found myself drawn to Japanese calligraphy, fascinated by how its gestural movements unite individual expression with the conformity of language.
This interest in gesture naturally led me to Abstract Expressionism, where artists like Pollock and de Kooning were exploring similar tensions between control and spontaneity. It was through this movement that I discovered Georges Mathieu's action painting—a practice that brilliantly synthesised Eastern calligraphic traditions with Western abstract expression.
Simultaneously, I'm drawn to Concrete art's mathematical precision and geometric clarity—its systematic approach to form and space. This love for structured, rational composition creates an intriguing counterpoint to the spontaneous gestures of action painting.
Through research and practice, I've found that Malevich's Suprematism, Abstract Expressionism, and Concrete art aren't separate movements but points on a continuum—each offering different approaches to the same fundamental tension between freedom and form.
inspiration and technique
From Malevich's zero point of painting to the fluid gestures of calligraphy, my practice navigates between reduction and expression. Georges Mathieu's synthesis of Eastern and Western approaches showed me how action painting could connect to both the spontaneity of calligraphy and the structured clarity of geometric abstraction.
I never plan what to paint. Instead, I find the feeling and lock it, allowing the work to emerge spontaneously through various mediums. This approach mirrors the calligraphic tradition where the moment of creation captures both intention and accident.
My practice synthesises:
The radical reduction of Suprematism
The gestural freedom of Abstract Expressionism
The structural clarity of Concrete art
The meditative discipline of calligraphy
Each piece becomes an exploration where black silhouettes—echoing Malevich's revolutionary square—dance against disproportionate color fields, creating narratives that hover between the tangible and transcendent.
This spontaneous approach also draws from the Beat writers of the 1950s, particularly Kerouac's method of spontaneous prose. Like Kerouac's attempt to capture pure thought and feeling on the page, my work seeks to translate immediate experience into visual form—operating in that same space between conscious control and unconscious flow.
Underlying this practice is an engagement with Jung's concept of the collective unconscious, active imagination and shadow selves, alongside Rudolf Steiner's anthroposophical understanding of color and form as forces of creation. These philosophical frameworks inform how I approach the canvas as a space where archetypal forms can manifest through spontaneous gesture.
I work backwards—learning from creation to concept while weaving these contextual parallels together.
collaborations
As an artist based in England with strong connections across European art communities—particularly in Switzerland, France and the Benelux—alongside growing international reach, I'm exploring collaborative opportunities that bridge diverse artistic practices in all corners of the world.
I’m drawn to creating installations, movement-based work, sound installations, and projects that blend photography, printmaking, spontaneous art writing, and DJ collaborations—all exploring how multiple art forms can express emotional cores through different styles and mediums. Whether through artist collectives, workshops, or cross-disciplinary projects, I see partnerships that explore the tension between spontaneity and architectural structure, individual expression and collective vision.