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Rose:Heart:Flame #3 - 300dpi

Rose/Heart/Flame, from a series of small paintings completed last spring, is now on view at Gebert Contemporary, 558 Canyon Road.  The more I think about this work, the less I want to define it for you, the viewer.  Let the shapes be anything, from fire to rose petals, and let them speak directly to your heart.

 

Elegy #19_DSC5905

 

Opening in October, the New Mexico Museum of Art included some of my work in the Alcoves 16/17 #5 Exhibit.  The Alcoves exhibitions focus on current work by contemporary NM artists and change every 7 weeks.  It is truly amazing how many accomplished, exciting artists are working here.  16/17 #5 happened to include two of my cohorts in the Lady Minimalists Tea Society, Shaun Gilmore and Signe Stuart, along with Kelly Eckel and Mira Burack.  Curator Kate Ware did an outstanding job of selecting artists whose work is strongly related and set up a 5-part dialogue among our individual spaces in the large hall of the museum.

Kate chose 5 paintings from the Elegy series that I made after my husband, Wayne, passed away.  As always, the work is watercolor on translucent Yupo paper (a synthetic paper).  Elegy #19, above, epitomizes my intuitive, receptive painting process and conveys the mixed emotions of grief, calm, and wonder I was feeling at the time (2014).

dara1

Here I am speaking to a crowd at the Museum about my work.

The show is down now, but was chosen as one of the 10 best art events of 2016 by the New Mexico critic for art ltd. magazine.  Thanks, Jon Carver!  We also got positive reviews in the Santa Fe New Mexican Pasatiempo magazine, THE Magazine, and Visual Art Source, an on-line publication.

 

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.

In a little explosion of creativity, over the past few weeks I’ve learned to combine the circle grids and the bar/stripe grids in the paintings. something I thought I’d never do.  This takes the work a little farther from the monochrome minimalist look and into richer, more complex territory.  What factors led to these changes are mostly mysterious to me, but I did find myself listening to Schubert instead of  Reich in the studio.   Some “old-fashioned” sense of composing calls to me now that wants more than repetition – maybe even a start, middle and finish to the visual experience.

Gold Light River, at 42 x 41,” is one of the smaller paintings in this series so far.  I’m particularly excited about some tall vertical paintings that will soon be making their appearance on the blog.  These paintings challenge my notions and rules of what is allowed into my art.  It’s a good stretch that strengthens my thinking and intuition and lets even more light into the work.

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