That's it... that's all I wanted to say.
|Today's work in progress|
|detail of work in progress 10/5/17|
|Hangover painting, 2017, acrylic and oil on cardboard|
|some artwork to reference while reading the description!|
"Momento (ribbon)", 2017, oil on paper, 33.5 x 38 inches
My work is informed by both the inward and the outward,
by things observed, and things that cannot be observed.
By entangled forms found naturally or unnaturally
in the body, in nature, in everyday objects; and
equally by chance and feeling.
Process oriented and gestural, these abstractions entice
the viewer's subjectivity, while allowing me the freedom to access
a wider range of resources both physical and emotional.
I start a painting or a series of paintings with a simple thought or inspiration. I don't usually sketch it out first. I prefer to tackle the canvas all at once and let the materials and process of painting dictate the direction. I work on up to five things at once. I'm an observer and am usually looking at something while I paint. I try to keep myself emotionally connected to the specific object or memory I begin with, but painting has a way of prescribing its own journey. Success would mean that I've allowed the painting to take me someplace unexpected while maintaining some hint of my original intention.
I'm interested in posing a question rather than an answer, and I prefer to evoke the feeling of a thing rather than make a statement about it. I'm interested in the process of making, in paint, color, line, handwork, women's work, repetition, knitting, sewing, braiding, rope making... entangled forms found naturally or unnaturally in the body, nature, or everyday objects; and equally in chance and feeling.
My work is about connections; the intertwining and overlapping of the physical, spiritual, metaphorical. The connection of shapes and color, form to form, body to body, mind to mind.
|Installation view of the exhibition, Anne Truitt Sculpture 1962-2004 at Matthew Marks Gallery|
|First, 1961, Acrylic on wood, 44 ¼ x 17 ¾ x 7 inches.|
|Watauga, 1962, Acrylic on wood, 46 x 56 x 7 inches|
|Spring Dryad, 1975, Acrylic on wood, 76 x 13 x 8 inches|
"I am most profoundly grateful to have had the opportunity to see my work... Like the night at the Corcoran Gallery of Art... I walked up and down the dark corridors between their massive forms, most of which towered over me, and held out both my hands to feel them, not touching them. They stood in their own space, in their own time, and I was glad in their presence."I could easily quote from the entire book since after reading it three times already I am still completely enthralled, but I'll leave it up to you to go get a copy and see for yourself!
|Gloucester, 1963–72, Acrylic on wood, 74 x 72 x 13 inches|
|Morning Choice, 1968, Acrylic on wood, 72 x 14 x 14 inches|
|Hardcastle, 1962, Acrylic on wood, 99 ¾ x 42 x 16 inches|
|Pith, 1969, Acrylic on wood, 85 ½ x 18 x 18 inches|
|View, 1999, Acrylic on wood, 81 x 8 x 8 inches|
|Second Requiem, 1977, Acrylic on wood, 84 x 10 x 8 inches|
|Shrove, 1962, Acrylic on wood, 60 x 10 x 10 inches|
|View of Anne Truitt's Washington D.C studio, 1980|
|Seven, 1962, Oil (semi-gloss enamel) on wood, 53 ¾ x 32 x 7 ⅞ inches|
|Southern Elegy, 1962, Oil (semi-gloss and flat) on wood, 47 x 20 ⅞ x 6 ⅞ inches|
|A Wall for Apricots, 1968, Acrylic on wood, 72 ⅝ x 14 x 14 inches|
|Anne Truitt in her studio|
|Lynda Benglis, Corner Piece, 1969|
|Arlene Shechet, Blue Velvet, 2010, filed ceramic, wood|
|Arlene Shechet, detail, Swoon, 2006, glazed ceramic, hydrocal, concrete, steel. 61.5 x 18 x 18 inches|
|Lynda Benglis, Storm Pattern, 2003, Bronze|
|Arlene Shechet, Mountains are Aware, 2012, glazed ceramic on concrete base|
48 × 15 × 15 inches
|Lynda Benglis, Pink Ladies, 2014, cast pigmented polyurethane and bronze|
|Arlene Shechet, Because of the wind, 2010, glazed ceramic, steel, glazed kiln|
|Arlene Shechet, detail, Not Knot, 2010, glazed ceramic, hardwood, steel, 16 3/8 x 16 1/4 x 74 inches|
|Arlene Shechet, Beyond Itself, 2011, ceramic and glazed fire brick, 12 x 8 3/4 x 5 inches|
|Lynda Benglis, Bravo, 1972|
|Lynda Benglis, Zita, 1972, cotton bunting, plaster, paint, glitter over aluminum screen, 44 × 15 × 11 inches|
|Lynda Benglis, Proto Knot, 1971 Wire mesh, cotton bunting, plaster, gesso and sparkles|
|Arlene Shechet, in foreground, Not Knot, 2010, glazed ceramic, hardwood, steel, 16 3/8 x 16 1/4 x 74 inches|
|Lynda Benglis, Untitled (VW), 1970, pigmented polyurethane foam|
|Arlene Shechet, Full On, 2016, glazed ceramic, painted and carved hardwood, gold, 19.5 x 16.5 x 12.5 inches|
|Lynda Benglis, Wing, 1970, cast aluminum, 67 x 59 1/4 x 60 inches|
and EAT MEAT, 1969/75 Bronze 24 x 80 x 54 inches
|Arlene Schechet, Clue, 2015, glazed ceramic, 11 × 8 × 8 inches|
|Arlene Shechet, Tumbling Through Time, 2016, glazed ceramic, hardwood, aluminum, steel. 35 x 18 x 17 inches|
Philip Guston, Untitled, 1968, acrylic on panel, 18 x 20 inches.
|Lynda Benglis Hills and Clouds, 2014, cast polyurethane with phosphorescence and stainless steel|
(yeah, it glows-in-the-dark!)
|Arlene Shechet, Tattletale, 2012, glazed ceramic, glazed kiln brick and kiln shelf, and Plexiglas|
63 × 24 1/2 × 22 inches
|Arlene Shechet, Sounds Like, 2013, glazed ceramic on glazed kiln bricks|
107 × 17½ × 17 inches
|Arlene Shechet, Glazed firebrick|
|Lynda Benglis next to Helios, |
1999, bronze with gold leaf, 24 1/2 x 21 x 10 inches
|My first homemade vegan blueberry pie!|
|Momento (ribbon), 2017, oil on paper, 33.5 x 38.5 inches|
|Momento (#2), 2017, oil on paper, 33.5 x 38 inches|
|Momento (#3), 2017, oil on paper, 37.5 x 33.5 inches|
|Momento (pink), 2017, oil on paper, 31.5 x 41 inches|
|Momento (#5), 2017, oil on paper, 33.5 x 37.5 inches|