What a pleasant surprise it was to receive an email from your editor at Artists2artists, informing me that you had reviewed my art. Thank you so much for selecting my work! Your review of my Rusted Painted Can Series is very perceptive, and much appreciated. You clearly understand my vision of creating works that are beautiful, but also reference our societies unending appetite for over consumerism.
We both know, that after 100 years the medium has many names (Readymade/Junk Art/Found Objects/Trash Art/Environmental Art/Eco Art/Green Art/Recycled Art/Repurposed Art, and the latest term that Designers prefer, Up cycled Art) I call my work Ecological Trash Assemblages. People have tried to persuade me not to use the word TRASH to describe my work, telling me that “it’s not good from a marketing standpoint! An Environmentalist since the 70’s, a big part of my mission, is to influence younger artists to work in a medium that is truly good for the planet. By helping to clean up TRASH from the environment (Think Global-Act Local) and by diverting TRASH from our local landfills. In addition the use of TRASH reduces an artist’s carbon footprint by not relying solely on new materials (my works are created from a minimum of 85% post-consumer materials TRASH).
I have admired El Anatsui’s work for years. His masterpieces are such gorgeous tapestries, as well as being so eco friendly. I have built up a sizeable inventory of old rusty cans that are over 50+ years old, and plan on working in a much larger scale in the near future.
I particularly like the end of your review, when you wrote “I also find it of note that the wall sculptures maintain this geometric regularity, and while haptically charged, they never fully succumb to the organic modulation on their two-dimensional support. They are particularly salient on the active surface in piece #11”. Again I thank you for writing such an excellent review of my work. Largely self taught, I always feel honored when someone of your academic background understands the true artistic merit of my work. Can I have permission to quote you? :)
Thank you very much for your very positive comments. While I have had several solo exhibits and have won several awards in my short career, I was very interested in finding out what an art professional thought of my art. As you can probably conclude from the pieces in my portfolio, I consider myself to be a colorist as well as a realist. I am especially happy that you consider my paintings beautiful. That is exactly the effect I am trying to attain. In some cases, I push the color to extremes with the express purpose of trying to knock the viewer's eyes out. If you were see the actual paintings, the coloristic effects are even greater than online. Taking a page from photographer's book, I print the digital paintings on aluminum which results in great luminance, brilliant color, great vibrancy, and a depth of color not obtainable with natural media. Once again, thank you very much for taking the time to look at my art. If you have any additional interest, my website is www.cgeth.com.
Do I have your permission to quote you? I have signed contracts with Editions Limited (print distributor) and Art Finder (to sell my paintings in Canada, UK, Europe, and the United States). Also, I will have featured solo exhibit at gallery in Lancaster, PA in the fall and your comments would be helpful in selling my art.
Mahalo Kristen for the wonderful comments on my piece "passio". This is perhaps the most well written critique I have had and again, Mahalo (Thank You) for your beautiful insight!
I am thrilled and grateful to be having a solo show at the Maui Arts and Cultural Center May of 2014...just in case you have a desire to go to Maui this will be a very fun show with performers from the paintings!
I thought you might like this latest paintings they are on my webisite, they are under "Restraint and Revoluton" roseadare.com
I am so pleased you like my painting 'Saving Clementine'. Your review was excellent and I appreciate you taking the time to write such an insightful piece. It is always exciting to know how people feel when they engage with the paintings, it gives the pieces new life and I am able to revisit the work through someone else's eyes. Thank you very much Kristen!
Thank-you for the very insightful critique of my painting "Woods Destruction for Development". You put into words what I wanted to convey with this painting through composition and the images as icons. I was happy to read your interpretation of this piece and I don't think anyone (including myself) has ever summed it up so well! I appreciate your taking the time to review it.
Thank you for your comments on my photography series, your commentary very eloquently addressed the visual elements that I wanted to present through my work. The inspiration, or rather subject matter, of that particular project was to highlight the current state of urbanization taking place in China. The concept of a static grid represented by the scaffolding obscured by a fast moving object in the bus can be interpreted as double entendre in two ways: the scaffolding represents a temporary structure portraying a state of change and growth, while the bus moving through the streets represents the permanence of the daily lifestyle in urban China, are juxtapositions of their physical manifestations. In the physical sense, the scaffolding will one day be gone, while the buses will continue to run the same routes every day with metronomic regularity. But the other interpretation from a purely visual sense is the opposite; because of the constant construction taking place in China, the scaffolding is now a seemingly static and permanent fixture of the urban landscape, while the bus is constantly moving and changing its direction, orientation, and speed as it facilitates our personal individual pursuits of growth and change. These visual elements serve to both highlight and juxtapose the physical qualities of their place in the urban landscape. In the end, the scaffolding and the bus are both permanent and fleeting, it depends on the viewer's perspective.
ironically the peace is supposed to symbolize a warm moment. The canine head is actually that of a baby levian wraith (flying whale, the young have six eyes), curious of the two characters but too shy to fully approach. The colors are actually meant to resemble autumn, but I could see how the luminescent field and sunrise could make the colors mistaken for a representation of anger. But thank you for the interpretation, it may get me to add to the piece a bit more and maybe tone it down
I was pleased and honored by your decision to review Memorialization Book and The Ruler from my recent body of work, Memory Lingers. Your comments were both insightful and well stated. The images are both from a presentation book I created for museum and gallery curators. I can see why you made the comment that they appeared graphic and formal. How right you were to notice that! I made the decision to include the pages on my site, instead of just the photographs of the work, to better define the work.
I did choose to eliminate the eyes to create anonymity as well as make her the surrogate for all women lost in the Holocaust and other contemporary genocides. It was meant to be an act of erasure, as I wrote "wiped out..gone."
As artists, we often work alone in our studios, without the opportunity to hear intelligent and meaningful dialogue about our art work. It is with great appreciation that I thank you for your comments.
Thank you for taking the time to critique Looking Through a Haze of Memories. I found your comments helpful and insightful. although I draw and paint the figure on a regular basis in this instance I chose to leave out the people that you might normally see in a carnival setting to reinforce the mood . Regards Bonnie Shapiro
Thank you for taking the time to review my photographs of the Rosebank Cemetery. I appreciated your thoughtful and articulate comments about the images. You managed to clearly find words that described what my true intensions were with these images.
I am in the process of putting together a solo exhibit in Edinburgh of these historic cemetery photos. As I have just stated I enjoyed how you described the work. May I use your review in some of my publications? Of course I would attach an author credit. Please let me know if that's possible.
I really appreciate the time you took to comment on my work. I had never heard of the artist you recommended and I found her paper animal sculptures very inspiring. It was great receiving such a thoughtful critique for an outside observer. Best of luck to you.
I made that piece a few years ago, while living in New Mexico. The combination of dramatic landscapes and heavy artillery (being in close proximity to Los Alamos National Lab), was very potent for me at the time.
The piece was originally made in wax, then molded and cast in bronze. The waxes for the bombs, I chilled in the cold winter air, then brought them back into my studio and dropped them. The shattered pieces, I then reassembled, to give the effect of spent ammunition, and to give reference to the organic corrosive texture of the sandstone landscape in the area.
The goat was introduced for several reasons. For starters, I've always just liked the way they look, and am entertained by their stubborn disposition.
Secondly, they were one of the first animals to be domesticated by humans, bringing about 'civilized' man. In this scenario, the goat and the bombs, mark the potential dusk and dawn of civilization.
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