ArtSlant - Closing soon en-us 40 Lynn Boggess - EVOKE Contemporary - May 4th, 2012 - May 31st, 2012 <p><img src="" /></p> Mon, 23 Apr 2012 10:36:14 +0000 Annica Cuppetelli, Cristobal Mendoza - Center for Contemporary Art - June 2nd, 2012 - June 2nd, 2012 <p style="text-align: justify;">Annica Cuppetelli (USA) and Cristobal Mendoza (Venezuela) collaborate on the creation of site-specific, multimedia installations that address issues of space, interaction, and materiality. For <em>currents 2012</em>, they present <em>Notional Field</em>, an interactive work in which the movement of viewer’s bodies influence the movement of the work. Comprised of video cameras, computer simulations, and moving projection, this project speaks to the complex relationship between humans and computers and the interface of real and virtual worlds.</p> Sat, 02 Jun 2012 03:41:26 +0000 John Garrett - Chiaroscuro Contemporary Art - May 4th, 2012 - June 2nd, 2012 <p style="text-align: justify;"><strong>Garrett’s</strong> new sculpture takes his unique mixed media vocabulary to a new extreme, exploring forms that explode from a center point and hang freely from the ceiling.  <strong>Garrett</strong> refers to these dynamic new pieces as “Chain Columns”.  This will be his third solo show at Chiaroscuro.</p> <p style="text-align: justify;">Using discarded, recycled, non-precious materials, <strong>John Garrett</strong>‘s new sculptures transform and elevate his materials into a new realm. This dynamic body of work consists of large-scale pieces hanging straight down from the ceiling. <strong>Garrett</strong> calls them “Chain Columns”. His Chain Columns employ hundreds of densely hung individual elements, such as keys, bead strings, or razor blades, looped together one on top of the other.</p> <p style="text-align: justify;">Based in Albuquerque for many years, this is <strong>John Garrett’</strong>s third solo show at Chiaroscuro. Over the past 30 years, <strong>Garrett</strong> has earned a national reputation and been awarded two National Endowment for the Arts fellowships, one in 1983 and another in 1995. In 2010 he was elected a Fellow of the American Craft Council College in recognition of his outstanding artistic achievement and leadership in the field.</p> Sat, 02 Jun 2012 03:42:48 +0000 Irene Kung - Chiaroscuro Contemporary Art - May 4th, 2012 - June 2nd, 2012 <p style="text-align: justify;">Known for her exquisite large-scale architectural photographs, where buildings emerge from a jet-black background,<strong>Irene Kung</strong>’s second solo show with Chiaroscuro will feature her majestic tree series. The title of her show, <i>Gli Alberi</i>, Italian for “The Trees”, pays homage to her roots and to these graceful and powerful natural wonders. <strong>Kung</strong>’s trees are extraordinary. Using her mastery of digital manipulation, she accentuates every leaf and branch, raising the contrast and depth to hyper-realistic levels. While it is possible to get lost in the details, these renderings nevertheless retain a quality of light that brings the trees to life with dynamic gesture and form.</p> <p style="text-align: justify;"><strong>Irene Kung</strong> was born in Switzerland and trained as a painter. Based in Switzerland after many years abroad, her work has achieved international recognition. In the past few years she has expanded her repertoire to include photography.  Her subjects range from architectural monuments to exotic plant life and Argentinian horses.</p> Wed, 23 May 2012 00:15:06 +0000 Beth Moon, Elizabeth Opalenik - Verve Gallery of Photography - April 27th, 2012 - June 2nd, 2012 <p style="text-align: justify;">VERVE Gallery of Photography is pleased to present, <i>Human + Nature, </i>an exhibition with Gallery artists Beth Moon and Elizabeth Opalenik. Both artists make their images using hand-made photographic processes. <br />  <br /> Beth Moon’s photography examines the relationship between humans and earth’s creatures. Her tree images focus on their majesty and solitude. Her recent work took our intrepid artist to the island of Socotra in the Gulf of Aden off the coast of Yemen. Socotra, with a sparse and arid landscape, is the home to nine species of trees, all unique to the island. Beth’s portrait of the Dragon’s Blood Tree in Socotra pays special tribute to a distinctive tree that stands tall with a vertical trunk and an out of reach and arching umbrella canopy.  Included in the exhibition are Beth’s prints from the <i>Seen but Not Heard</i> series, a body of work that examines the role of children in an adult world.  Finally, in <i>Augurs and Soothsayers</i> Beth captures the regal essence of capons, feathered fowl as seen at their finest.<br />  <br /> Elizabeth Opalenik exhibits recent images where she uses the Mordançage process. Elizabeth reconfigures the darkest emulsion of a gelatin silver print to make it into a veil or drapery.  Once the emulsion is loosened from the paper she rearranges the emulsion so as to create a complementary veil that adorns the subject of the photograph, Elizabeth’s dancers and nudes. In addition, Elizabeth will be exhibiting platinum palladium prints from <i>A Journey Home</i>, a body of work where she photographed the Amish in Pennsylvania. Elizabeth was raised near this Amish community and found solace in their company while tending to her mother who was ill. The images in this series are very personal and yield a body of work that portrays a people living serenely and in harmony with the gentle rolling manicured landscape found in the western part of the state.</p> <p style="text-align: justify;"><b><span style="text-decoration: underline;">BETH MOON<br /> </span></b><br /> Time, memory and ones relationship with nature are the central themes of Beth’s work. Her platinum palladium images reveal an intuitive appreciation and understanding for the ways in which these elements define our understanding of our place in the universe. <br />  <br /> Beth’s image of the Dragon’s Blood tree, the Desert Rose, and the Frankincense trees evoke a mysterious solitude giving the trees and plants a regal status in a desert landscape.<i> </i>The island of Socotra is home to the world’s most unusual collection of over 700 native plants and animals found no where else on the earth. Socotra is so remote that until recently cargo boats could only reach it. Beth Moon says of this unique landscape:<br />  <br /> “I believe it is through the unique vegetation that the spirit of Socotra is defined, and the island’s culture so closely linked to nature which sets this island apart from the rest of the world. With its wildly diverse and enchanting landscape of surreal beauty, Socotra is one of the world’s last truly wild places.”<br />  <br /> Beth’s <i>Seen but Not Heard </i>body of work portrays children in an adult world.  The images place children in the natural settings so as to create a sense of innocence, wonder and curiosity. They result in playful compositions and juxtapositions.<br />  <br /> <i>Augurs and Soothsayers</i> mirror a union of unlikely opposites.  The common image of a banal barnyard animal juxtaposed with exotic varieties draws on both myth and mass production. Photographed out of their natural environment, the subject’s unique features become more apparent. The scale of these portraits is not purely for ornithological study, but rather allows us to see ourselves existing in their scale.  <br />  <br /> Susan Squier writes: “Augury is a type of knowledge-making about present and future that is in danger of disappearing in the 21st century: the knowledge gained by intimate relations with animals.  Accepting animals farmed for their meat and eggs in a process of rationalized scientific management, we have lost the ability to see what they augur for our collective future.” The artist continues, “Today’s augury is a new mode of awareness, recognizing a need to re-connect our relationship with animals built around honor, crucial to ongoing life, human health and cultural ritual.”<br />  <br /> Beth Moon was a fine art major, although she is a self-taught photographer with interests in alternative printing processes. Beth employs platinum printing that she learned while in England. Beth has exhibited widely in Great Britain, France, Italy and throughout the U.S. She has had solo shows in London, San Francisco, Verona and Chicago. Beth has won the Golden Light Award from the Maine Photographic Workshops and she has been published widely in major photographic magazines.<br />  <br /> <b><span style="text-decoration: underline;">ELIZABETH OPALENIK<br /> </span></b><br /> Elizabeth Opalenik is well versed in many photographic processes, and is known for her use of Mordançage. This technique strips away the darkest parts of the emulsion of a silver gelatin print creating a raised area on the print. Elizabeth pioneered the saving of the floating veils of emulsion in this process. It is Elizabeth’s trademark. Elizabeth lets the delicate skin of picture bearing emulsion fold upon itself and settle back upon the paper in new shapes.  She harmonizes the floating emulsion with her own style of photographing dancers, nudes and still life. The artist utilizes the emulsion drapery of the Mordançage process to accentuate the subject of her photographs. The end result is a one-of-a-kind photographic image.<br />  <br /> Elizabeth Opalenik will also be exhibiting platinum palladium prints from her recent series, <i>A Journey Home</i>, in which she photographed the Amish from Western Pennsylvania.<br />  <br /> The artist says of this work, “In 2000 my mother was diagnosed with cancer. I spent those last six weeks in Western Pennsylvania with her. I found solace by seeking the peaceful vistas of the Amish land so near to my childhood home. My parents raised seven children in our family farmhouse, and as I emptied it of jelly jars and materials for rag rugs, I sought the similarities to my childhood found in the way the Amish still live today….The Amish understand the pictures are about my search for childhood memories and a life now gone. Within their lives, I found my metaphorical roots. Once again my mind played in streams, encountered the wringer washer that squeezed my brother’s arm and remembered Sunday soup where we would help mother pluck feathers from scalded chickens. The Amish sweetly refer to me as the “English” photographer, and slowly, have invited me in. Truly, all photographs are self-portraits. <br />  <br /> <i>A Journey Home, </i>is available in a limited edition portfolio, each containing 12 prints in folios, with a letter-pressed introduction.  Each set is housed in a slipcase made by the Amish. The portfolio is in an edition of 12. <br />   <br /> Elizabeth employs the Mordançage process, infrared, platinum printing and hand painting in creating her innovative, one-of-a-kind images.  She mixes digital and traditional technologies to explore all the creative possibilities. Elizabeth imparts her sense of artistry to personal projects on the Amish near her childhood home. She has worked with United Cerebral Palsy Games for the Disabled, Nuestros Pequenos Hermanos International and is currently documenting a project for Medical Ministries International that brings much needed eye care to small villages along the Amazon River in Colombia, Peru and Brazil.<br />  <br /> Elizabeth Opalenik’s work is collected, published and exhibited in museums, galleries and private collections internationally.  In 2007, Elizabeth published her first monograph, <i>Poetic Grace: Elizabeth Opalenik Photographs 1979-2007</i>.  She is represented by VERVE Gallery of Photography in Santa Fe, Gallery DeForest online and Corbis Stock.<br />  <br /> Elizabeth is sought-after as a teacher for the sense of wonder and possibility she awakens her students in photographic workshops.  She has conducted workshops on five continents in conjunction with The Santa Fe Photographic Workshops, Maine Media Workshops, National Geographic Expeditions, Stanford Continuing Education, and The Rencontres d’Arles.<br /> <br /> <br /> </p> Sun, 01 Apr 2012 12:37:29 +0000 Emily Mason - LewAllen Galleries (Railyard) - April 27th, 2012 - June 3rd, 2012 <p style="text-align: justify;">The work of acclaimed color abstractionist Emily Mason will comprise the upcoming exhibition Summer’s Response on view at the Railyard gallery location from April 27 through June 10, 2012. It will be the artist’s fifth solo presentation at LewAllen Galleries. One of America’s foremost non-representational painters, Emily Mason has spent more than six decades exploring her distinctive vein of lyrical, luminous abstraction. Robert Berlind said of her in Art in America: “Mason works within the improvisational model of Abstract Expressionism, though notably without angst or bravado.”</p> <p style="text-align: justify;">If Georgia O’Keeffe and Agnes Martin were noted for having transformed 20th century Modern painting in the Southwest, Emily Mason can be regarded as having played a preeminent role in taking the New York Abstract Expressionist tradition and re-conceiving its expressive possibilities in the 21st century.</p> <p style="text-align: justify;">As one of America’s finest contemporary abstract painters, Mason’s use of luscious color acts as a vital pictorial proponent in relaying her work’s singularly poetic qualities. Her surfaces may include a solidly opaque field of color or many transparent, layered washes scraped or sanded down to maintain the appearance of a single surface. Employing a broad spectrum of colors in a seemingly limitless range of saturations and hues, her paintings also contain an underlying order which serves to inform and refine their structure.</p> <p style="text-align: justify;">The stirring beauty of Mason’s work has remarkable power to engage the viewer even as it evokes equanimity. Striking areas of lush color alternate with fields of opaque pigment, intensifying one’s sense of the unexpected. Revealed is the power of the indistinct, that ineffable quality of the uncertain to yield joy, grace and inspiration. Laying eyes on these works’ vibrant colors, mediated hues, and compositional harmonies, one has the feeling of coming close to the edge of the unknown, of entering an enticing realm that sharpens the senses and enriches our understanding of life.</p> <p style="text-align: justify;">Though her practice is firmly rooted in the New York Abstract Expressionist tradition of the mid-20th century, Mason has cultivated a quiet refinement in contemporary non-representational painting; the easy grace of Mason’s paint application surpasses the unrestrained gesticulations of her action painter forebears and produces a uniquely beguiling body of work. She is improvisational in her application of paint and in her response to its movement. Central to Mason’s paintings are the interactions between lush, arresting color and nonobjective form. The engrossing depth and porcelain smooth surface texture of Mason’s canvasses is perhaps due to her incorporation of duel sensibilities – the Color Field artist’s surface sensitivity and the Abstract Expressionist’s muscular spontaneity.</p> <p style="text-align: justify;">Mason has described her process as a combination of serendipity and conscientious collaboration with chance while staying alert to the beauty of unintended consequence. Her highly expressive abstractions result from a synergy of diverse techniques including pouring, staining, scumbling, blotting, and deft brushwork methods that emphasize intuitive procedures and introduce energizing, unpredictable compositional elements. Merging acute instinct with sophisticated structure, Mason continues to extend the formal vocabulary and expressive potential of contemporary abstraction. Today, Emily Mason’s work may be thought of as a kind of bridge between the New York School of the 1950s and 1960s and more recent developments in abstract painting.</p> <p style="text-align: justify;">Mason was born in New York City. She studied at Bennington College and graduated from Cooper Union in 1955. Mason’s work has been exhibited internationally and is included in numerous public and private collections.</p> Sat, 02 Jun 2012 04:02:47 +0000 Natasha Isenhour - The William & Joseph Gallery - May 4th, 2012 - June 3rd, 2012 <p style="text-align: justify;">The William&amp;Joseph Gallery will kick off the arts season May 4th with an art exhibition/fundraiser for the Espanola Valley Humane Society.</p> <p style="text-align: justify;">The featured artist, Natasha Isenhour, is creating paintings of animals for this special exhibit.</p> <p style="text-align: justify;">Isenhour was also a special guest artist for ArtSmart in February, was a guest artist at SXSW in Austin in March, and was also awarded a price with the Masterworks of New Mexico Art Exhibit last week, and is an artist in residence at the Inn at Loretto.</p> <p style="text-align: justify;">Natasha'sBio</p> <p style="text-align: justify;">When someone asks where I get my inspiration, I really don’t have a canned or predictable answer.  Depending on the day, I may say music, or a poem... or you may hear me say blue, the sky or laughter.  Every time I sit down and try to articulate an answer to that question, I am stumped as to how to put it into words. </p> <p style="text-align: justify;">I work full-time in the studio, and moonlight as an artist during all my waking hours outside of that comfortable nest of creativity.  I have an unstoppable stream of visual inspiration living in the southwest.  There are animals galore, sunsets, storytelling adobe ruins, the changing light of the seasons and more landscape that I could ever hope to absorb in a lifetime.   All of these elements are present for me when I step up to the easel regardless of the subject that takes its place in the composition as I begin working. </p> <p style="text-align: justify;">People often ask if I know what colors I will use before I begin.  The answer is “no.”  More often than not, I step up to the oil box or the pastel box and allow myself to be inspired by a color, then, as in any relationship, one thing leads to another.  I try to leave preconceived notions of an ideal finished product somewhere inaccessible so I can allow my passion and emotion to drive the work.  I often feel that the subject matter that I use in my work is merely a catalyst to convey emotion through color.  You see a bird, a horse or a staircase; I see my heart.</p> <p style="text-align: justify;">Whether in oil or pastel, my technique begins with the perfect substrate.  Then it is color on color on color until I get the rich, crisp combination that succeeds in expressing what I can’t find words for.  I am also a writer and a musician, and I often refer to my paintings as picking up where the words and notes fall short.</p> <p style="text-align: justify;">So I suppose you could say that what inspires me is the last thing I painted.  Creativity for me breeds itself.   The more I paint, the more I know that there is no end to the inspiration for the next blank canvas.”</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;">She is an active member of the following organizations:</p> <p style="text-align: justify;">Oil Painters of America</p> <p style="text-align: justify;">American Women Artists</p> <p style="text-align: justify;">Pastel Society of New Mexico</p> <p style="text-align: justify;">Plein Air Painters of New Mexico</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;">Isenhour’s collectors span the globe from all across the United States to Paris and Dubai, United Arab Emirates. Her work has been exhibited internationally in London, the Czech Republic, and Florence, Italy.  Natasha is a member of Oil Painters of America, Plein Air Painters of New Mexico and a writer for, and  member of the Pastel Society of New Mexico.   *image attached: "When Words Fail" oil on panel, 8x10 inches</p> <p></p> Mon, 23 Apr 2012 09:32:38 +0000 Fung Ming Chip - Gebert Contemporary - 558 - May 11th, 2012 - June 4th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Gebert Contemporary is delighted to open the 2012 summer season with an exhibition of rare work by renowned Chinese artist, <strong>Fung Ming Chip</strong>. The exhibition will consist of 8 rarely-seen works of carved wood. These vivid red and white seals redefine one's understanding of seal art. Rather than a structured and controlled composition, <strong>Fung Ming Chip's</strong> seals explode in size and structure. Traditional seals are normally no larger than five to six inches across. By comparison, some of these seals span a length ten times that. Their design may not be rooted in characters but flow freely from the artist's creative imagery. This body of work dates to 1995 and has been seldom seen. Several of the seals were included in <strong>Fung Ming Chip's</strong> important 1999 retrospective at the Taipei Fine Art Museum.  </span></p> <p style="text-align: justify;"><span style="font-size: small;">Complementing these vivid and energetic carvings is a selection of </span><strong style="font-size: small;">Fung Ming Chip's</strong><span style="font-size: small;"> calligraphy. The calligraphic paintings are startling in their simplicity. The sensuousness of the brushwork is deeply seductive. Elegant in their black ink script on paper and often marked by a number of distinct, red seals indicating the artist's identity, these paintings move beyond traditional calligraphic values to explore complex composition and design. While </span><strong style="font-size: small;">Fung's</strong><span style="font-size: small;"> respect for brushwork is evident throughout the paintings, he transcends accepted boundaries to embrace the infinite possibilities of script as composition-script as a means to a more lofty goal.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Fung Ming Chip</strong> is a gifted artist in several media. In addition to being a skilled and inventive painter and sculptor, he is also a playwright, director, and novelist. <strong>Fung Ming Chip</strong> is also highly respected academically; in 2004, he was the Artist in Residence at Jesus College, Cambridge University. The work of Fung Ming Chip is in the collection of The Metropolitan Museum of Art, New York; the Hong Kong Museum of Art; the Ashmolean Museum, Oxford University; the World Bank, Washington, DC; the Asian Art Museum, San Francisco; and the Olenska Foundation, Geneva, as well as many other important public and private collections.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> Sun, 27 May 2012 08:45:29 +0000 Robert Ritter - Ventana Fine Art - May 25th, 2012 - June 8th, 2012 <p style="text-align: justify;">A new series by Robert T. Ritter, inspired by S.C. Gwyne's novel "Empire of the Summer Moon", the exhibit explores the Comanche's impenetrable empire. Remembered for their violence and raids, they built a sophisticated network of trade with the Spanish, Mexican and Texas settlements. Kidnapping used as a basic tool to secure both power and resources. The Comanche's demise would not come at the hands of their many enemies, but by the epidemic of smallpox and cholera.</p> Sat, 07 Apr 2012 03:18:51 +0000 Sally Condon - Matrix Fine Art - May 4th, 2012 - June 9th, 2012 <p>Sally Condon’s luminous abstract paintings express her connection to the natural world. As a long time gardener and keeper of bees she continually witnesses nature’s beauty and regenerative forces.  Her paintings are a metaphor for her feelings about the magic and beauty that surrounds her from a simple flower or leaf to the colors of a beautiful western sunset.  In her compositions colors begin to breathe and resonate as they do in the natural world. Condon uses wax from her own bees to layer collaged images, leaves and flowers with oil paint. The resulting images are rich, seductive and full of natural magic.</p> Thu, 26 Apr 2012 09:55:55 +0000 Group Show - Modified Arts - May 18th, 2012 - June 9th, 2012 <p style="text-align: justify;">Is there no wild left? No place or species left untouched by humanity? “The End of Wild” addresses the topic of “wild” through a collection of artist’s works that explore man’s closeness to nature, species selection, and our coexistence within evolving landscapes. “The End of Wild” presents a wide range of media including works in photography, public art, installation, drawing, sculpture, and mixed media.</p> <p style="text-align: justify;">In the exhibition, media artist Lauren Strohacker places advertisements in newspaper classified ads with arbitrary calls to nature; artist trio Unmanned Minerals displays strips of bark burned with poetic messages; and, Carolyn Lavender presents a new landscape drawing that questions the artificiality and objectification of nature. The exhibition also includes the work of The Department of Nocturnal Affairs (DNA), an organization aimed specifically at documenting glimpses of nature during the midnight hours.</p> Thu, 31 May 2012 13:59:28 +0000 Katharine Noe - New Grounds Print Workshop and Gallery - May 4th, 2012 - June 9th, 2012 <p><strong><em>Thoughts on Place – Monotypes and Gravure by Katharine Noe</em></strong>Kathe Noe’s softly hued semi-abstract monotypes and gravure prints seek to transform the poetry of her dream journal into a visual representation of her journey in life. Noe has travelled widely and there is an undeniable Asian influence in her work. Her images are richly layered and organic yet elegant and immediate. This is her first solo show at New Grounds Gallery.<strong></strong><strong></strong></p> Thu, 19 Apr 2012 00:44:19 +0000 Jamie Hamilton, Alison Keogh - Center for Contemporary Art - March 16th, 2012 - June 10th, 2012 <p style="text-align: justify;">A two person exhibition of sculptures and drawings by artists Jamie Hamilton and Alison Keogh In the Munoz Waxman Gallery:</p> <p style="text-align: justify;">Jamie Hamilton</p> <p style="text-align: justify;">Jamie Hamilton's work evokes the many mechanical devices and designs by Leonardo Da Vinci. Creating both intricate sketches and large-scale steel and polycarbonate sculptures, Hamilton showcases the beauty and complexity of machinery and its connection to natural forms. "The architecture of my creations is born from the rhythms and dances of music and the physics of motion and structure. The sculptures are made from elemental forms. Cylinder, sphere, line, and plane in combination become progression of scale, spacings and repetitions. Art brings me to a meditation on issues of life, death, joy, despair, dialogue, and connection. It feeds the flames of my intellectual humanity, compassion, and hope in times of barbaric greed and social injustice." - Hamilton </p> <p style="text-align: justify;">Alison Keogh</p> <p style="text-align: justify;">Alison Keogh ( uses natural materials to create unique pieces of sculpture. "This survey of work is a contemporary distillation of the New Mexico landscape into its essential elements, which aims to facilitate a reconnection to the land, thereby providing a new perspective, heightening an awareness of our connection to the earth. My work is a dialogue with the natural world, passing through my body, expressed through breath, mindful awareness, and repetitive gestures. I have always been an avid observer of the natural world, working from a place of focused attention and a visceral connection with clay." - Keogh </p> Thu, 26 Jul 2012 15:29:42 +0000 Group Show - Center for Contemporary Art - April 6th, 2012 - June 10th, 2012 <p style="text-align: justify;">Announcing the 12th Annual <em>Collect 10</em>. This annual event celebrates the diversity of the New Mexico arts community by inviting any and all image makers to create wall works that fit within a 10" cube. <strong></strong><em>Collect </em>encourages audiences to ease the border between established and emerging artists, providing a broad overview of the Santa Fe arts community.</p> Fri, 30 Mar 2012 00:18:59 +0000 Jennifer J.L. Jones - Hunter Kirkland Contemporary - May 25th, 2012 - June 10th, 2012 <p style="text-align: justify;"><span style="font-family: verdana,geneva;">Hunter Kirkland Contemporary is pleased to present Jennifer J.L. Jones' exciting new work. Jones approaches her painting as an ongoing search for meaning and coherence in a beautiful but mysterious world. Her exquisitely crafted luminous surfaces serve as a kind of mirror that reflects an internal radiance that is hinted at but never actually seen.</span></p> <p style="text-align: justify;"><span style="font-family: verdana,geneva;">The artist's technique of glazing thin layers of different kinds of paint and tar, then sanding them to produce a highly polished finish, has evolved along with her emotional expression. In this series she starts with a background of latex paint that she throws onto the panel as a way to open herself up, then paints on wax paper and presses it against the board to create blocks of color and pattern.</span></p> <p style="text-align: justify;"><span style="font-family: verdana,geneva;">"I studied some of my earlier paintings and started to see the beauty in fragments of the whole, such that one little corner of the old painting would become the inspiration for a new piece that builds on those details, " says Jones. "I think of these paintings as a garden in full bloom, but with the garden's elements abstracted into color fields and shapes that contain an element of mystery."</span></p> <p style="text-align: justify;"><span style="font-family: verdana,geneva;"></span></p> <p style="text-align: justify;">Unlike the almost dreamlike quality of her previous work, which leads viewers into a state of contemplation, these new works have an immediate emotional impact. This creates a powerful connection between artist and viewer that transforms Jones' personal statement into a shared celebration of the natural world and its delightful complexities.</p> <p style="text-align: justify;"><span style="font-family: verdana,geneva;"><br /></span></p> <p><span style="font-family: verdana,geneva;">About the artist</span></p> <p style="text-align: justify;"><span style="font-size: small;"><span size="3" face="Verdana"><span style="font-family: Verdana;" size="4" face="Verdana">T</span><span style="font-family: Verdana;" size="3" face="Verdana">he things that inspire me to create are found all around me - in the seasons, weather patterns, and natural elements.The grace in a falling leaf from a tree in autumn, a pocket of air trapped in ice, the burnt edges on a flower in the hot summer, millions of crushed shells in the form of sand along the beach. The inspiration found in nature for my art seems endless. Beauty is everywhere and as an artist I interpret that beauty, trying to integrate my personal style, and put it out there for people to connect with.</span></span></span></p> <p style="text-align: justify;"><span style="font-size: small;"><span style="font-family: Verdana;" size="3" face="Verdana"></span><span style="font-family: Verdana;" size="3" face="Verdana">M</span><span style="font-family: Verdana;" size="3" face="Verdana">y work is part of a spiritual search. It is a need to express what sometimes can only be felt; to create an experience unique to each individual. Viewers find themselves feeling calm, passionate, or remembering another place and/or time that may have been forgotten. The combination of various mediums and materials with which I enjoy working include oil, acrylic, textured papers, asphalt, wood stain, glue, charcoal, wax and metal. My method of layering symbolizes change, time, and growth. Because of multi-layering, the paintings become an ongoing experience for the viewer. There are always new details to look at which earlier may have been missed. This also integrates my idea of trying to notice things in nature that some may overlook, or take for granted.</span></span></p> <p style="text-align: justify;"><span style="font-size: small;"><span style="font-family: Verdana;" size="4" face="Verdana">A</span><span style="font-family: Verdana;" size="3" face="Verdana">s I paint, each studio session becomes a form of meditation. My work is an intuitive process. The paint often dictates the final imagery, and I allow this to be my guide. The colors I choose to glaze over one another create mood, atmosphere, and a vibration of energy unique to each viewer interacting with the final piece. Working with the paint and the various mediums and materials helps to build up and break down ideas, thoughts, and patterns. I believe that the process I follow when creating a new piece is just as important as the end result. As an artist, my most significant reward is to know that my work has affected even one viewer.</span></span></p> <p style="text-align: justify;"><span style="font-size: small; font-family: verdana,geneva;"><span size="3" face="Verdana"><br /></span></span></p> Thu, 26 Jul 2012 15:29:30 +0000