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Beginning a piece on a map can have an implicit narrative applied to it. When I approach these paintings on collage, no matter the motif, I do not deny the narrative application, but I do not let it lead me. This figure can be read in many ways, as Mother Earth, as a Sisterhood rising, and that is completely fine with me, but it is not the message, as a message was not the intention. In some ways the collage is a spring board, but of a more abstract nature. I leave open the narrative, and I welcome it, I just do not cage the figure in it. A figure is also implied narrative, but I prefer to think of them abstract, and allow interpretation left completely in the minds’ of her audience. I cannot pretend to understand the life experiences of someone who comes to experience the work, and I welcome all interpretations. I do accept that my language is feminist, it is powerful, it feels angry or aggressive. All of these attitudes are valid, and I stand behind them. But as to her true meaning, I learn something new from her every time I sit with her, and I love that she has different messages for each unique viewer.
Beginning a piece on a map can have an implicit narrative applied to it. When I approach these paintings on collage, no matter the motif, I do not deny the narrative application, but I do not let it lead me. This figure can be read in many ways, as Mother Earth, as a Sisterhood rising, and that is completely fine with me, but it is not the message, as a message was not the intention. In some ways the collage is a spring board, but of a more abstract nature. I leave open the narrative, and I welcome it, I just do not cage the figure in it. A figure is also implied narrative, but I prefer to think of them abstract, and allow interpretation left completely in the minds’ of her audience. I cannot pretend to understand the life experiences of someone who comes to experience the work, and I welcome all interpretations. I do accept that my language is feminist, it is powerful, it feels angry or aggressive. All of these attitudes are valid, and I stand behind them. But as to her true meaning, I learn something new from her every time I sit with her, and I love that she has different messages for each unique viewer.
Beginning a piece on a map can have an implicit narrative applied to it. When I approach these paintings on collage, no matter the motif, I do not deny the narrative application, but I do not let it lead me. This figure can be read in many ways, as Mother Earth, as a Sisterhood rising, and that is completely fine with me, but it is not the message, as a message was not the intention. In some ways the collage is a spring board, but of a more abstract nature. I leave open the narrative, and I welcome it, I just do not cage the figure in it. A figure is also implied narrative, but I prefer to think of them abstract, and allow interpretation left completely in the minds’ of her audience. I cannot pretend to understand the life experiences of someone who comes to experience the work, and I welcome all interpretations. I do accept that my language is feminist, it is powerful, it feels angry or aggressive. All of these attitudes are valid, and I stand behind them. But as to her true meaning, I learn something new from her every time I sit with her, and I love that she has different messages for each unique viewer.
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Waking the Beast Painting

Christine Sauerteig-Pilaar

United States

Painting, Oil on Paper

Size: 38 W x 55 H x 2 D in

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About The Artwork

Beginning a piece on a map can have an implicit narrative applied to it. When I approach these paintings on collage, no matter the motif, I do not deny the narrative application, but I do not let it lead me. This figure can be read in many ways, as Mother Earth, as a Sisterhood rising, and that is completely fine with me, but it is not the message, as a message was not the intention. In some ways the collage is a spring board, but of a more abstract nature. I leave open the narrative, and I welcome it, I just do not cage the figure in it. A figure is also implied narrative, but I prefer to think of them abstract, and allow interpretation left completely in the minds’ of her audience. I cannot pretend to understand the life experiences of someone who comes to experience the work, and I welcome all interpretations. I do accept that my language is feminist, it is powerful, it feels angry or aggressive. All of these attitudes are valid, and I stand behind them. But as to her true meaning, I learn something new from her every time I sit with her, and I love that she has different messages for each unique viewer.

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Painting:Oil on Paper

Original:One-of-a-kind Artwork

Size:38 W x 55 H x 2 D in

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Christine Sauerteig-Pilaar is a contemporary artist living and working in New Jersey. Her compelling and emotional artworks look to speak to the primitive side of the human existence and how that relates to modern day life. Christine focuses on the female form as her muse, mostly conjured from self-portraits, where she utilizes her body to manipulate feelings of a quiet rage within women in the more domestic interiors of lives not usually viewed as remarkable or unique. She works to search out the uniting thread of feminism in the dark spaces of suburban life, and looks to thrust the spotlight on the unsaid struggles and betrayals of women in our current society. Christine received her BFA from Parson’s School of Design in 1993, and after living in New York City, relocated to New Jersey where she has continuously experimented with mediums having stretched the limits from making her own oil paints to using shellac and iron filings to transforming her work to the mixed media technique she has developed more recently. Her current process uses graphite and charcoal, along with ink and pure pigments brushed or scratched on, along with oil and acrylic paint.

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