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PINK BLOSSOM DEEP GREEN DWELLING Painting

Diane Szczepaniak

United States

Painting, Watercolor on Paper

Size: 42 W x 50 H x 0.1 D in

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About The Artwork

Pink Blossom Deep Green Dwelling is inspired by the season of spring as I experience it in nature as well as in poetry. Like a form in nature, the painting developed according to its own internal dynamics, emerging as an object that escapes the prescriptions of utility, instead allowing the mind to be captivated by something beyond itself. When I paint, I use a wide brush to apply layer upon layer of translucent watercolor paint until the painting's space holds my thoughts. I put red on top of blue, blue on top of red, sometimes yellow over everything, letting each layer transform the ones beneath in a meditative process whose traces register in high-resolution digital images of the finished works. The surfaces offer a quiet space to realize and share the invisible distances that are often crowded out in our increasingly efficient, light-saturated, and networked lives. The ambiguities of color and depth sustain the eye’s attention, suspending the viewer in a private experience akin to the introspective moment of lyric poetry. I have been told by viewers that the paintings plant a seed of quietness and an open awareness that takes them to a relaxed but alert state of mind. They expressed to me that they experienced a feeling that I had come home after a long absence. It is my hope viewers find a quiet moment in these still spaces of color, a glimpse of the present moment when time seems to stops that will give them time to reflect.

Details & Dimensions

Painting:Watercolor on Paper

Original:One-of-a-kind Artwork

Size:42 W x 50 H x 0.1 D in

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"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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