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Thanis #16 - 41x55%22

Here’s some good news from the studio; Neiman Marcus has bought two of my large paintings for their new Fort Worth store.  I’m honored and thrilled.  This image is  of Thanis #16, 41 x 55.”  As with all my work, Thanis is a watercolor painting on synthetic translucent paper (Yupo).  You can see the areas where sheets of Yupo that I have painted with circles are layered over or under sheets painted with vertical stripes.

The new Ft. Worth store is scheduled to open in February  of 2017.  I can’t wait to see my work hanging there!  And I’m curious, because I know that Neiman’s will have other wonderful artworks from their collection on display.

Some more news; I now have a beautiful web site designed by braveARTconsulting.  The site has taken over my daramark.com address, while this blog can be accessed now at daramark.wordpress.com, or you can simply google “dara mark blog.”

 

River:Flow:Chart #7

River/Flow/Chart #7

I’m pleased to announce that Gebert Contemporary will be exhibiting three of my River/Flow/Charts in a group show that opens Friday, July 15.  The other featured artists are Udo Noger, John Nelson and Keiko Sadakane.  Please join me at the opening reception from 5 to 7:00 or come by the gallery this summer.  Gebert is on Canyon Road (behind Chiarosuro) and there is parking – though don’t count on it for the reception.

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In just a week I’ll be at the reception for my show at SMINK in Dallas.  Jennifer Smink asked me to make something really big for the exhibition, and here it is – Water Chart – about 53 x 64.”  It was a great challenge to work on this scale, especially because the supports (foam core and mat boards) had to be specially ordered and everything took longer than I expected.  Getting the whole composition to flow and connect and to balance depth with expanse presented new problem at this size.    There are multiple dimensions to perceive here, not just height and width but layered depth, as some squares are three layers deep – hard to convey, really, in a photograph.

The reception will be next Saturday evening at SMINK, 1019 Dragon Street, Dallas.  Please come by if you are in the area.  sminkinc.com

 

 

 

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River/Flow Chart #1

Turquoise, teal, aqua, robin’s egg, cyan, spruce – this range of cool blue-greens has been obsessing me for the last few months.  Perhaps it’s a reaction to the chaos on the front page news, and certainly reflects my inner need for balance and harmony.  If color alone can heal, these hues are healing me.

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Untitled 2015/23

Untitled 2015/23 measures 40 x 41.”  At the the abstract level, it juxtaposes and combines two disparate presentations of the same flow pattern, circles (bubbles) and “puddles.”  It’s intriguing to me that the similarities in the twin flow patterns – larger underlying shapes – is not immediately apparent, but the harmony between them is sensed.

Here are some associations from Wikipedia for blue-greens:

refreshing, feminine, calming, wholeness, creativity, emotional balance, spiritual grounding, love, patience, intuition.

Release #2

Release #2/Wayne

I have been thinking of the pleasures of tradition as I’ve been listening to new music at the Santa Fe Chamber Music Festival this summer.  Yesterday, in particular, during a concert of works by young composers-in-residence, the new sounds elicited from classically trained musicians on their conventional instruments had my ears perking up.  The music sounded both old and fresh, familiar and newly introduced.  This dichotomy engages one’s deep memories while surprising us into paying complete attention.   Nothing, not rhythm, tonality, harmony or melody can be taken for granted, and yet the format (in this case) was the string quartet, as well-established as can be.

Something similar operates in my paintings, with their traditional framed formats.   The watercolor medium still employs gum arabic from acacia trees and many of the pigments have been used for centuries, altho some are now synthetic.  On the other hand, the translucent synthetic paper I use (Yupo) has only been available since the end of the last century, so the ability to layer transparencies is new, and Yupo’s non-absorbent surface causes the paint to behave in unprecedented ways.   Abstraction itself now has a grand tradition of over a hundred years but offers plenty of unexplored territory.

Release #2/Wayne is another in the series of elegies for my husband.  There’s something about the color and softness, the upright format and upward-rising visual flow that feels to me like an abstract portrait of him.

2009, watercolor on layered synthetic paper, 40 x 60"

                       Galisteo #2 – 2009, watercolor on layered synthetic paper, 40 x 60″

This large painting, inspired in color by glorious autumn cottonwoods along the Galisteo River, has been selected for purchase by the Farmington Regional Animal Shelter.  Facilitated by the New Mexico Arts, Art in Public Places Purchase Initiative, the placement seems so appropriate to the life-affirming mission of the shelter.  I’m really pleased and proud to think of my work hanging there.  Actually, they are buying two paintings, but I thought I’d show you this vibrant, exuberant one.

Galisteo #2 was made in 2009, obviously a good year for cottonwoods.  Looking at it again I’m reminded of how much my work depends on forces beyond my conscious control.  Although I had no plan for this piece beyond the color, somehow it conveys a sense of trees in sunlight that is purely fortuitous.  I find that the more I allow life, paint, events, to arrive of their own accord, the richer my experience and the better my art.

Elegy #9

Elegy #9 – watercolor on translucent Yupo paper – 30 x 35″

Gebert Contemporary on Canyon Road here in Santa Fe is showing some paintings from my Elegy series.  The Elegies, in honor of my late husband Wayne Gibson, have been a way of resuming my art practice after Wayne died.  They are mostly black and white, with blue coming to predominate in the latest ones.  This is a particularly intuitive series in which I’m allowing feelings and impulses to guide me down some new paths.  Elegy #9, above, for instance, is simpler and more graphic than previous work.

I am honored and pleased to have work on Canyon Road once again – it has been nine years, I think, since EVO Gallery closed at that location.  Driving up the historic and lovely road has been bringing back some wonderful memories, and a sense of being once again in the “heart” of Santa Fe’s art community.  Gebert Contemporary has for some time now offered a premier roster of both local and international artists that I’m proud to join.

Santa Fe friends, you are invited to Gebert now and over the holidays to see this group show, which includes work by local artists Dirk DeBruycker, Ricardo Mazal, Munson Hunt, Grant Hyunga, Cov Jordan and others.  My paintings are in the old house, both first and second floors.  Enjoy the exhibit and have a joyful holiday season!

Escalera #1 - Limited edition digital print from Santa Fe Editions

Escalera #1 – Limited edition digital print from Santa Fe Editions

Santa Fe Editons is publishing a series of 3 prints, the result of a collaboration between me and Gary Mankus, the printmaker.   Based on my watercolor work, they have been manipulated on the computer and printed on fine archival paper.   Santa Fe Editions presents work from some of Santa Fe’s best and best-known artists.  I am honored to have work in their collection. To see all three compositions go to santafeeditions.com

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This room, designed by Tracy Hardenberg, was chosen by interior photographer Michael Hunter as his “Photograph of the Week.” Although it was not intended to showcase my painting, Lamy/Shadows, I wanted to publish this view of my work in a congenial setting.  The painting was recently sold by Smink in Dallas.  Autumn Smink was as pleasantly surprised as I was to see it appear in Hunter’s publicity shot.  

Chi Gong #2 – watercolor on layered translucent polypropylene – 51 x 36″

Chi Gong #2 was developed specifically for the ART Santa Fe fair.  You can see it hanging in the Lady Minimalists Tea Society booth in the post below this one.  I had a very narrow space in which to show my work, so a vertical painting was called for.  This is not by any means the first time I’ve worked in a vertical format.  It’s a favorite of mine for the way vertical paintings can be “read” or felt as analogues for the human body.  And the Chi Gong series – which simply means energy work – presents an abstract evocation of my daily health/meditation chi gong practice.

 

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