Bigindicator

Kerry Ridgley

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The Primitive Sun Was Magical, 2014 Oil, Acrylic and Latex on Canvas
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The Berth of Light, 2014 Oil, Acrylic and Latex on Canvas
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The I is What I Seam, 2014 Oil, Acrylic and Latex on Canvas
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The Winged One Becomes, Then Lifts, The Earth, 2014 Oil, Acrylic and Latex on Canvas
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The Earth Works With Child's Play, 2014 Acrylic and India Ink on Paper
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The Earth Shimmers With Mother and Child, 2014 Acrylic and India Ink on Paper
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Imprint No.20 (The Arizona Phoenix), 2013 Oil, Acrylic and Latex on Canvas 36 X 24 X 1.5 Inches © 2013
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Imprint No.17 (The Shadow, Figuratively Speaking, Mines For Light), 2013 Oil, Acrylic and Latex on Canvas 54 X 36 X 1.5 Inches © 2013
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Imprint No.13 (The Rock Wallflower), 2013 Oil, Acrylic and Latex on Canvas 40 X 30 X 1.5 Inches © 2013
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Imprint No.9 (The Fossil and The Guardian), 2013 Oil, Acrylic and Latex on Canvas 54 X 36 X 1.5 Inches © 2013
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Imprint No.10 (The Red Fossil), 2013 Acrylic and India Ink on Paper 30 X 22 Inches © 2013
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Imprint No.2 (The Template For Air), 2013 Acrylic and India Ink on Paper 30 X 22 Inches © 2013
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Imprint No.12 (The Earth Bones), 2013 Oil, Acrylic and Latex on Canvas 36 X 24 X 1.5 Inches © 2013
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Imprint No.5 (The Forces at Work), 2013 Oil, Acrylic and Latex on Canvas 42 X 28 X 1.5 Inches © 2013
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Imprint No.18 (The Red Winged One), 2013 Acrylic and India Ink on Paper 30 X 22 Inches © 2013
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Quick Facts
Birthplace
Lima, Ohio
Birth year
1954
Lives in
Scottsdale, Arizona
Works in
Scottsdale, Arizona
Schools
Bowling Green State University, 1976, BFA
Tags
desert, Luminous, bright colors, Earthy, imprints of spirit and earth, radiant, primary colors, paper, canvas, acrylics, oils, abstract, modern
The Imprints of Spirit and Earth

The desire to blend compositions inspired by and of the earth, in particular the desert-scape, with the spirit of both that earth and the observer - the one experiencing - of it is what drives my pallete of the three primary colors along with black and white.  One would easily, and logically, conclude that works integrating aspects of the earth, in my case rock faces found in the Arizona desert, would include an earthier palette.  However, my intention is not to simply repeat what the earth looks like by using a realistic set of colors.  Rather, what I aspire to is to incorporate a dimension of spirit - a playful, even jouful, spirit - that visually informs the color choice of the primaries.  This, then, is color metaphor which, in its most basic and elemental sense, is as if a child's spirit is coloring the world.  In essence, such a child is proclaiming, "This is how I feel!"