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When faced with a blank white surface, sometimes I use a base color that inspires energy. Here, water and paint were dripped down a wet surface of Hansa Yellow Deep. Painting intuitively with a wide raggedy old brush, the fraying bristles are used to advantage, and those marks direct how the painting proceeds.
Saint Catharine's Sunset is the signature piece for the "Magic Square" series. All are 11H x 11W x 3D acrylics on canvas, wrapped over quality, home-built stretchers with painting completed on the sides, where they are signed if the signature would disrupt the flow of composition. Frames unnecessary. The sturdy, boxy shapes hang optionally on walls, where they look great in groups, or placed on a surface, viewed like sculptures.

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Comment by Nikki Coulombe on February 1, 2013 at 2:03pm

You mention the unanticipated dynamic presented by the square format - it's so true - switching from the usual work practices, confronted by eliminating or adding components to the formula of what works, changes everything, including, of course, the outcome, and is the best way to learn, I've found. I'm encouraged to continue attempts at Integrating more modern elements with my traditional tendencies.Thanks for the great review, and for validating the contemporary direction of this series.

Comment by Resident Curator on January 31, 2013 at 10:18pm

Curator’s Comment:

 

St. Catherine’s Sunset is a bright, refreshing image.  While I really enjoy the dramatic perspective of the elongated trees in Dancing with Trees & Eucalyptus, etc , the light moving through the plant forms in this painting creates a really beautiful and unexpected pattern.  The interior space is a lacey web of green stems, punctuated by spots of intense pink and red hues.  The verticality of the movement points the viewer back up through the flowers/trees and into an airy lavender haze.  I think the square format also presents a certain unanticipated dynamic.  The denial of the traditional rectilinear Renaissance window or rectangular ‘landscape’ orientation makes it decidedly more contemporary while spatially more ambivalent.  I’m also attracted to the monochromatic piece Neighborhood Heron .  The reference to your ‘Magic Square’ series in your accompanying statement strikes me as apposite- these works suggest a small window into a dreamy natural world that could be the present, but more likely just beyond reach.

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Ms Kristen T. Woodward critiques of members art.

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