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Comment by Resident Curator on April 29, 2015 at 8:52pm

Yes, I really like that one too.  The faces have a mask like quality.

Comment by Scott Sedar on April 26, 2015 at 12:33pm

In light of your remarks about the censorship -- or a bar, I thought you might be interested in an earlier piece -- an example is attached. Thanks again for you interest. 

Comment by Resident Curator on April 25, 2015 at 3:51pm

I also enjoyed those works - thanks for pointed me to the site.  The painting you have here seems a bit more subtle- lower chroma hues for example.  It also struck me that some of the squares in the other pieces were attempting to negate the subjects they covered- like mini-black bars across critical parts of the figure.  A censorship of sorts.  The push and pull sets up an interesting dichotomy.

Comment by Scott Sedar on April 23, 2015 at 12:42am

You really got this piece. Thanks. I've tried a couple more of these, easily viewed at Artsicle. I would be interested in your thoughts. 

Comment by Resident Curator on April 21, 2015 at 9:21am

Curator’s Comments: 

 

While many painters use a grid as a means to express an underlying order or formal structure, Matter at Rest seems particularly apropos of the visual evidence of digital creation.  Assuming no other technology was used in its conception, it’s a clever way to break up the picture plane and speak to a method of contemporary construction.  The obviously hand painted/rendered edges add gestural movement and remove what could have otherwise been a geometric or mathematical interpretation.  At the most basic level it’s a successful solution and merger of the hard edged and organic figuration. I also enjoy the piece’s rather complex figure ground relationship, and the manner in which the flesh tinted squares break away from the reclining nude and combine with other cooler color combinations in the background.   The darker green squares in the lower half of the composition nicely support the weight of the figure and read as a bed or similar horizontal support.  I also intuit certain humor in the titling of the painting; expressing a fundamental shift between scientific processes and ideas versus artistic observation and certainty.

Comment by Scott Sedar on April 20, 2015 at 1:08am

Working with the human figure has become easier following years of going to a life drawing session at the Hillyer gallery. This piece includes the pixilation that I've been using of late. 

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Ms Kristen T. Woodward critiques of members art.

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