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Around 2006, poetry began to have an influence on the ‘L’ paintings. "Sunday Morning" by Wallace Stevens was the first poem to inspire me. After memorizing each stanza, I found that the poem’s mysterious imagery stayed with me, so I decided to paint a painting based on each of the eight stanzas. Attaching the paper to big boards with water tape, I painted with a brush and a lot of water applying numerous layers of translucent color. The colors of paint were mixed and then applied one on top of another. Each layer transformed the layers underneath. Every so often, I turned the painting, allowing the colors to run and letting me view the painting from different vantage points. The paper became like a sheet of glass through which I could look and see the layers of paint. The layering process allowed my thoughts to wander freely and gave me space to get lost in my imaginings. It is the thought that focuses my mind and defines the painting. I painted about 100 paintings over six years for the Work series focused on the image of the meeting of land, sea and sky. The ‘L’ composition stayed the same but the painting’s color combinations and density of paint changed and it was from this work inspired by the cliff at the ocean’s edge that I realized that by manipulating the surface with pigment I had the power to alter my state of mind.
Painting:Watercolor on Paper
Size:36 W x 42 H x 0.1 D in
Ready to Hang:Not applicable
Packaging:Ships Rolled in a Tube
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
"Phenomenology of Form” In my abstract painting and sculpture, I strive to move away from a human-centered world, into one populated entirely by objects composed of form and space. I refer to my paintings and sculptures as places. There, the forms are free of the use value we assign to objects in the world around us. Rather than fulfilling human needs, or even catering to the symbolic or allegorical imagination, these forms exist independently of us, and draw the viewer into their space. They come alive on their own. To meaningfully fill space, they must become space, composed of dimension and acquiring their own fullness of being. This way, the forms exist not as potential objects, but as something that can hold and reveal the essence of being. BIOGRAPHY 2017 Diane Szczepaniak has been recognized throughout the East Coast for her abstract paintings and sculptures. Since the age of twenty-three, Szczepaniak has been driven by the study of the dynamics of form. Initially focused on drawing and sculpting the figure, she worked through these media to an understanding of the physicality of objects in space, which has remained with her throughout her career and brought her directly to abstraction. Using this understanding of space as an inspiration, she creates paintings by layering numerous washes of paint on paper and canvas, in a process that reflects her early sculptural training. Inversely, her glass sculptures are a physical representation of her painting process where each sheet of hand-blown colored glass represents a layer of paint. In both cases, each additional layer of color changes the whole. GALLERY Youngblood's, Sag Harbor, NY AFFILIATIONS Washington Sculptor Group, Washington, DC (member of the board) Washington Project for the Arts, Washington, DC InLiquid.org, Philadelphia, PA SELECTED PERMANENT COLLECTIONS American for the Arts, Washington, DC Cincinnati Art Museum, Cincinnati, OH Embassy of the Republic of Poland, Washington, DC Maison Ailleurs, Chartres, France St. Mary’s College, St. Mary’s, MD RECENT AWARDS Sondheim Semi-Finalist (2011 and 2014) Trawick Prize Finalist (2012) Maryland individual Artist Awards: Sculpture (2009) SELECTED REVIEWS Paris Review, Clairvoyant Observation (March 9, 2016) AEQAI an e-journal AEQAI.COM (November 24, 2013) Baltimore CityBeat, Baltimore, MD (May 28, 2008) Art Papers, Reviews, pg 46 (July/August 2005)
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