I am a New York based artist and have been showing and selling my work since 1987, whilst often outside the gallery system. One of my early shows was at the World Trade Center (Grand Concourse) and I often showed at Fashion Moda in the South Bronx. In March, 2007 I took part in "Emergency Room" at MoMA, PS1, in Long Island City. I have also shown in Canada and internationally. I also am proud of the recent sale of a 60 inch horizontal oil painting depicting a row of iconic trees with a cadmium red sky, to singer/ songwriter/ art collector, Sheryl Crowe.
I studied painting at SF State University with Bob Bechtle & Richard McLean & drawing with John Guttman, but my work is mainly influenced by looking and painting & by the Visionary art that I discovered at the Tate Gallery, while living in London.
In avaday.com one finds Visionary Expressionist landscapes. These natural settings represent dreams, subconscious thought, discovery and observation. There is a feeling of nostalgia, or time lost. I see human drama reflected in nature. My trees and clouds are anthropomorphic forms, representing relationships, forms leaning against each other like lovers or friends; branches cross, tangle, repel, or flee. The color is the spiritualized atmosphere; generally high keyed and active, the painting's intuitive, emotional life. In all my works, my mission is to invent a world, personal and autobiographic, narratives in which the viewer is invited to enter in and create meaning. They are charged with a sense of the fleeting moment. These paintings have a physical as well as metaphysical, or psychical depth. One can look into them, much like gazing into a deep pond, or into one's own soul. If you would like to see more examples of my work, please contact me, as I am interested in showing and representation. avaday.com
Visionary Expressionist Landscapes as seen in www.avadayart.com
Ava Day is an accomplished New York artist working in a blending of contemporary and traditional styles. She paints with archival oil paints in a gestural manner onto linen, canvas or wood. She is a painter of dream landscapes, a highly suggestive art, rendered with an intensity of color. Her subjects include trees, fields, glens, skies, horizon lines, bodies of water, shadows, and light.
The art of Ava Day expresses inner experience. Art as an idea made concrete through imagery, abstracting ideas from circumstances and condensing them in an image. Her paintings bridge a gap between depiction of inner conflict, and at the same time reveal a moment that stopped, forever.
In Ava Day's landscapes there is an attempt to restore our sacred connection to the earth. As civilization wanes, nostalgia spreads like a mist, allowing only glimpses of thickets, trees or skies. An undeniable presence appears, as the underlying vibrancy of life is made visible and reinforces our sense of oneness with the worlds of spirit and nature. All things are invested with symbolic meaning, expressing the invisible or intangible, revealing immaterial or ideal states. Always concerned with the human condition her work looks beyond our mundane circumstances, towards a spiritual stirring for enlightenment.
Review by Stefan Eins Conceptual artist, Painter, Sculptor, Founder Fashion Moda
In Ava Day's paintings there are natural settings, parks, gardens, and lakes. In ‘THE GLADE', there is visible through an opening in the woods an ubiquitous, mysterious, infinite light, as in a saint's apparition. Her use of water as a subject further evokes thoughts and emotions about the infinite. Water is where we come from in evolution, the root of our consciousness, as in the ocean of our subconscious; water as the mirror of oneself, a particularly female self.
Ava Day splendidly succeeds in providing us with a personal yet universal view of life and the human condition, and a look of what's behind all this: consciousness of time, the essence of matter, the essence of life. This is truly the sign of a great artist. At times, she applies paint as if bits of matter are flung onto the canvas. The flung-on bits, like pieces of flesh are thrown into life, ripped of its bigger parts. This makes one contemplate the innate connection between the light and the natural surroundings, making one realize the connectedness of all life. Miss Day's style of flinging paint onto canvas has successfully transformed her paintings from being renderings of a reality created by the painter's imagination to ultimately making the act of painting, and the material used to paint and how this material is used, the meaning of her art, and probably her life. This could be difficult to understand, but essential in comprehending the importance of Ava Day.
In ‘ARCHITECTURE OF JOY', Ava Day's new series of works, she combines fine art painting with a re-invention of traditional home building techniques. This is truly cutting edge contemporary work.
The images here are dream landscapes inhabited by clouds, trees, bodies of water and the sky. Ava Day applies paint in a visceral, gestural manner. One not only sees but feels the painted object.
The framed constructions here are stage sets inspired by prairie homesteads and American rustic building styles. In these works traditional framing is not applicable. Ms. Day off-handedly mentions that some professional carpenters have objected to her building techniques.
In ‘ARCHITECTURE OF JOY' Ms. Day also employs articles like miniscule tea set layouts, items taken from a doll house, tiny boots, slippers dancing inside a glass-doored cabinet, a lace curtain blowing in the breeze and many other varied items. 'BROKEN FENCE' - for instance - is constructed of tiny slats of broken wood. ‘BACKYARD FENCE' is made of wainscoting, all ‘objets trouvés': slats of wood and a broken flower pot,
‘WISH & PONY' depicts painful childhood memories of broken promises and unrequited love from a disapproving parent. In many pieces there is crockery and it is broken.
All objects in Ms. Day's work here have history in her life, memory and longing. In ‘PERSISTENCE OF MEMORY' a love letter found on the banks of Newton Creek in Greenpoint, Brooklyn is displayed collaged together with a reproduction of Salvadore Dali's rubberized clocks.
Ava Day, her cabins in the sky, her ‘ARCHITECTURE OF JOY', homesteading a universe.
Review by Stefan Eins
Conceptual artist, Painter, Sculptor, Founder Fashion Moda
Architecture of Joy is the title of a group of three-dimensional artworks by Ava Day in which the sculptural framings are as much a part of the piece as the stage and stage-set would be a part of a play or performance. The frame stands as a portal, or invitation to a vision or memory, be it painful, beautiful, or hopeful. She describes her work as fragments of dreams, fantasies, or moments in time. She describes an interest in the mind's ability to organize and sublimate the two-dimensional space of the canvas as theater into which the drama of a moment can be pressed.
She defines her work as intimate, personal, and Metaphysical, in that they relate to the transcendent, to a reality beyond that which is perceptible to the senses, full of an invented symbolism. An art of quietude, rooted in terrains of silence, causing us to listen to the innerness of our beings, reconciling nature with contemporary life
Spirituality animates many of the works, images paired down to their most eternal elements, exalting the mysterious, aiming to unify art and the senses. They evoke memory, the persistence of dreams in the face of reality, dreams that manifest content. Dreams, truer than other aspects of life, lead to a highly suggestive vagueness. She describes her paintings as a pictorial arrangement of the psychical under which lies a profound concealed truth. She creates at times a disquieting melancholic longing, or a sense of foreboding, evoking inner tumult, hidden beneath an eloquent exterior, giving life to simple natural scenes, whether humble or magical.
Her paintings speak of poetry, not because of literary themes or verses, but because they present images with a poet's eye or ear. The painting of an idea delving below narrative and even below consciousness, but full of the beauty and terror of life: conversations with the soul, with a wild note of longing. These themes interweave so that yearning and religion, destiny and eternity, symbol and idea, all become one.
"Dreams in Color" reviewed by Anthony Haden-Guest, author, critic
Ava Day paints in oil on linen. Day is a New Yorker but you might not guess it from her art. She paints unpopulated, visionary landscapes, with trees that look like grown-up leaves, fields, lakes and radiant skies, tossing with clouds. Occasionally she includes objects but they are usually not exactly part of the picture. They sit there - a white teapot, whatever it may be - as if on the ledge of the window through which we are looking. For the same reason, I think, she is fond of using elaborate frames. These frames are not fancy packaging but theatrical devices. Like the proscenium arch in a playhouse, they are invitations to enter Day's interior worlds. Artists who have dealt with dreams or waking visions, have often been rather other worldly in their métier, their paint handling. Like William Blake, whose muscular Michelangelesque anatomies seem to have coalesced from pink smoke, or the wraith-like inventions of Odilon Redon, the suffocating Gustave Moreau, or the inert picture surfaces of the haunting Rene Magritte. Striking artists, all, but hardly interesting painters. Such is not the case with Day. Her surfaces are lush, succulent, sometimes as clotted as cream cakes, so that her paintings work as objects as well as reveries. A tree will be formed by the brush, not illustrated by it, but then suddenly it will be luminous blue or ember red. With (yes) a tangerine sky. A few like-minded progenitors - mystics with some meat on their bones - come to mind. I think of the gold skies in some Byzantine icons, real gold, real sky. And their massive pale green saints. I think also of Blake's acolyte, Samuel Palmer, in his exuberant Shoreham period, and the wonderful (earlier) New Yorker, Albert Pinkham Ryder. These are artists who are far from having a methodical product line, by the way. But when they flew, they flew.
Ava Day belongs in their company also because of her scale. She has escaped that addiction to the out-size gesture that afflicts so much American art. She doesn't balk at whimsy or childlikeness and she is unafraid of poetry - the strength of poetry being that it can compact, that it can pack a whole interior universe into a carry-on bag, as often here.
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