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Light, Movement, Imagination

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20160415145507-klickity_klack
Klickety Klack, 2016 32 X 40” © Courtesy of the Artist and Matrix Fine Art
Light, Movement, Imagination

3812 Central Ave SE
Suite 100 A
87108 Albuquerque
NM
US
May 6th, 2016 - May 28th, 2016
Opening: May 6th, 2016 5:00 PM - 8:00 PM

QUICK FACTS
WEBSITE:  
http://www.matrixfineartabq.com/
NEIGHBORHOOD:  
Downtown/Plaza
EMAIL:  
matrixfineartabq@gmail.com
PHONE:  
505-268-8952
OPEN HOURS:  
Thu-Sat 11-5
TAGS:  
painting

DESCRIPTION

Our May exhibition features three local painters with widely different and vibrant approaches to abstraction.

Inspired by light and color in the moments surrounding dawn and dusk, Jill Christian’s recent paintings present fields of brushstrokes that fill the canvas with subtly shifting colors. Working within the structure of repetition and reduction, these process-driven, meditative paintings create rhythmic patterns that invite quiet contemplation of their surfaces. Christian’s paintings ripple with light and suggestion, occupying a space that is at once bold and retreating, quiet, yet filled with static and life.

Marilyn Dillard’s illuminating marks are inspired by the natural landscape, especially the visual qualities of rock, soil, and vegetation in its many variations.  The work does not include reproductions of the landscape or a specific place but rather represents the essence of the land. Utilizing her photographs, memories, and each intuitive mark, a painting evolves.  Acrylic paints are partnered with other mark making tools to complete a work.  Inks, pencils, crayons, burning, and thread are possibilities.  Silk and cotton cloth as well as unique papers and copy machine images are occasionally used for collage. 

Raul Dorn’s intense surfaces are the result of recognizing certain states of emergence through investigation of the world (inner and outer). The studio has become his laboratory, and painting allows Dorn to deal with the self outside of ego and shift to a higher vibration, or centering, much like meditation. He is fascinated by dealing with that which lies beneath, beyond and behind the visual, hidden in the physics of the natural world, and hopefully, in the metaphysics of the compositions. He aligns with sculptor Constantin Brancusi’s sentiment, “what is real is not the external form, but the essence of things… it is impossible for anyone to express anything essentially real by imitating its exterior surface.” 

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