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VIEW IN MY ROOM
VIEW IN MY ROOM
Collage, cyanotype on Paper
Size: 8 W x 8 H x 0.5 D in
Ships in a Box
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Artist featured in a collection
This small collage is part of the same series that Saatchi Art featured in its April 27, 2020 'New This Week' collection. It is the third in my 'Night and Day' series of collages using my hand-printed cyanotypes. When I made this in early May of 2020, I was thinking of the coranavirus pandemic and the metaphor of night and day, of suffering and relief. After George Floyd's murder in late May, a line from a poem by Maya Angelou, which is the title of this work, spoke to me. The way in which Americans of all colors and ages came together in the streets nationwide to demand justice and change gives one hope. "Lift Up Your Eyes Upon the Day Breaking for You" is a line from Maya Angelou's poem "On the Pulse of the Morning" which she read nearly 30 years ago at the inauguration of President Bill Clinton. The poem speaks about the unspeakable pain inflicted on so many African Americans and Native Americans throughout America's history, words that ring true today in the wake of another police killing of another black American. Yet the end of her poem is full of optimism: Lift up your hearts. Each new hour holds new chances For new beginnings. Do not be wedded forever To fear, yoked eternally To brutishness. The horizon leans forward, Offering you space to place new steps of change. Here, on the pulse of this fine day You may have the courage To look up and out upon me, The rock, the river, the tree, your country. No less to Midas than the mendicant. No less to you now than the mastodon then. Here on the pulse of this new day You may have the grace to look up and out And into your sister's eyes, Into your brother's face, your country And say simply Very simply With hope Good morning. The artist's proceeds from the sale of this piece will go to Fair Fight, an organization focused on free and fair elections in the U.S. It was founded by Georgia democrat Stacey Abrams with a mission to end Republicans' voter suppression tactics and elect more progressive voices to public office. About the 8 x 8 inch piece itself: The sides of the wooden cradle board are painted pale gold. The papers used in the collage are heavy 100% acid-free watercolor paper which will not yellow with age. The surface is permanently sealed with a transparent, matte layer of cold wax to protect it.
Collage:cyanotype on Paper
Size:8 W x 8 H x 0.5 D in
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
I live in the woods in northern California. Whenever I leave my house I find myself under an endless web of tree branches. Their silhouettes have etched themselves into my memory over the decades. My paintings and prints are always nature-inspired and nearly always monochromatic. Each one is an immersion in a single color, an ode to that shade. The Japanese have the expression "forest bathing" and I engage in a sort of "color bathing." Throwing several colors together strikes me as visually noisy. Having only varying shades of a single color in a picture exudes a calm, balance and focus that I find deeply attractive. Having spent a decade as a printmaker carving wood cuts and linocuts, printing etchings, aquatints and monotypes, monochrome is how my mind works. I focus on one color at a time, the composition, balance of positive and negative space, patterns, lines and cutout shapes. My paintings are an escape, a window to a simpler world. A perfect walk at twilight, the soft light at sunrise. I like simplicity. I do not like chaos. In my paintings of trees, I want the viewer to experience the beauty of walking under a canopy of trees. In my abstract paintings, I draw on the memories of webs and repeating patterns made by branches and leaves, sometimes quite symmetrically and sometimes in a more free flowing pattern. Wherever you look, there seems to be the shape of leaves. Every mark in my paintings is deliberate, not random, and my colors are often applied thinly and sheer. This is in keeping with my background as a printmaker. Printmakers must plan meticulously before they begin the irreversible process of block carving or acid etching. I do not “muddy” my paint while on the canvas nor lay on paint in a thick impasto. I create thin layers of color, one over the other, the way you roll ink on a block and only the sheerest layer of color is transferred to the paper once it has passed through the press. My color schemes are simple, my lines neat, and my compositions balanced like a Japanese woodcut or a sumi ink painting. I currently work in two mediums, acrylic painting and cyanotypes, a form of camera-less photography. Cyanotypes are a 19th century form of lensless photography also known as photograms, blueprints and sun prints. They resemble block prints or etchings but use no ink nor printing press. Light “etches” the image onto light-sensitive paper.
Artist featured by Saatchi Art in a collection
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