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The Sunday Morning Series consists of eight paintings, each based on one of the eight stanzas in the poem Sunday Morning by Wallace Stevens. Using the poem as a catalyst for meditative thought, I painted to capture the mysterious flow of time and space reflected in each stanza. The paintings are large watercolors, created by layering thin washes of color on sheets of Aquarelle paper with a brush and lots of water. As I work, I turn each painting allowing the color to run always looking into the painting as if I were peering through a sheet of glass, focusing through the layering of translucent color to see something distant and physical. This painting, MOODS IN FALLING SNOW was inspired by the 2nd stanza of the poem Sunday Morning by Wallace Stevens. SUNDAY MORNING 2ND STANZA Why should she give her bounty to the dead? What is divinity if it can come Only in silent shadows and in dreams? Shall she not find in comforts of the sun, In pungent fruit and bright green wings, or else In any balm or beauty of the earth, Things to be cherished like the thought of heaven? Divinity must live within herself: Passions of rain, or moods in falling snow; Grievings in loneliness, or unsubdued Elations when the forest blooms; gusty Emotions on wet roads on autumn nights; All pleasures and all pains, remembering The bough of summer and the winter branch. These are the measure destined for her soul.
Print:Giclee on Fine Art Paper
Size:8 W x 10 H x 0.1 D in
Size with Frame:13.25 W x 15.25 H x 1.2 D in
Frame:White
Ready to Hang:Yes
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Art prints are packaged and shipped by our printing partner.
Ships From:Printing facility in California.
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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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