Jane Callister (Manx/ born: Isle of Man, UK) has exhibited her paintings, drawings and installations both nationally and internationally over the past 20 years in such notable exhibits as "The 2003 Prague Biennale" at the Veletrizni Palace Prague; "Cosmic Lingerie:" at Gallerie Anton Weller, Paris 2001; “Extreme Abstraction” at the Albright Knox Museum, Buffalo NY 2005; "Step into Liquid" curated by Dave Hickey for the Ben Maltz Gallery at Otis in Santa Monica, the Laguna Art Museum, CA; Scottsdale Museum of Contemporary Art, Arizona in addition to numerous solo an group exhibitions in Los Angeles, New York, Texas, Florida, San Francisco.
Her work was included in the 2006 California Biennial, Orange County Museum of Art, Newport Beach, CA and has been featured in notable publications such as "Vitamin P: New Perspectives in Painting" by Phaidon Press; "Abstract Painting: Concepts and Techniques" by Vicky Perry, published by Watson & Guptil, 2005, NY and in LA Artland, published by blackdog press, London, 2005. Jane Callister's paintings may be viewed at Royale Projects DTLA, CA
“Tartan sky” the title of a recent painting I did for the series “Found in Translation” was a pivotal moment for my work. Unlike the previous paintings that combined areas of gestural brushstrokes with spills and splatters of multicolored paint “Tartan sky” holds back, using a limited palette of blues and greens with a whiplash brushstroke coming in from the side like a lasso edging into peripheral vision. Paired with a sculpture made of padded “bricks” that resemble a stone circle or wishing well “Tartan sky” was to act as a backdrop for the sculpture using the colors found in Manx tartan (from the Isle of Man, UK where I was born).
This use of a painting as a background lead me to another piece entitled “Mad Sunday” (also a reference to the Isle of Man which is famous for a dangerous motorcycle race held every spring since 1911). Like a turbulent grey sky, a sculpture made out of a motorcycle helmet and leather belts sits eerily in front. The painting in the background was a made up of a series of maneuvers as if dancing with the paintbrush while touching the surface of the canvas as I moved across it. It was this simple gesture that created a powerful sense of motion and foreboding that inspired me to explore the grey series further and expand the brush strokes into vigorous tangles creating a whirlwind of marks.
After the psychedelic palette of my previous ‘poured’ paintings I felt liberated from the methods and visual noise they generated. Taking the ‘backgrounds’ and bringing them to the forefront (and dispensing with companion sculptures) they emanate their own vigorous energy. Like angry clouds passing overhead the gestures dance across the surface independent of an imagined landscape below. Titled “Turbulence” this grey series is both subtle and energetic simultaneously. In various scales some are soft and intimate while others loom large and confront the viewer with a dense fog. Using over sized brushes the strokes take on a bold appearance whereby you can imagine the physical movement of my body as I made them
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