This is the view from my back court. Taos Mountain, the Mother Mountain, Sacred Mountain overlooking Taos Valley, has disappeared behind the clouds. Snow has transformed the view. Three days after Christmas. I put birdseed out to feed the birds in the neighborhood. But they are fickle and often find better things to eat.
Near the end of "time"
(Minute, hour, day, month, year)
Sands run quickly
Through the glass
Today, December 28
Very close to the end
Of the year 2012
And what did you do this year
Might be asked
I saw time slip pass me slowly
(Or so I thought)
I worked everyday
In the studio
Completed a series based on still life
A new image of still life
In early spring I began the task of organizing my life's work
My sister Maggie came to New Mexico to help with the work.
I returned to a body of work based on collage
I find as I start a series I have one idea
And soon I begin to think,
Hopefully this will be the beginning of a new series
(So far this is the only one I have accomplished
But I am hoping in the new year
I will find the time to explore this idea further)
This is a painting based on a nine piece grid
This is a painting based on a four piece grid
When I first came to New Mexico
My work was grids based on the square
I thought that wouldn't work here
After working in New Mexico for 18 years
I realized I could use the grid based on the square
Fragments G&C Series could be thought of a new form of colorfield. Of course it is pattern based on geometry. As you focus on one part of the piece, you become aware of the visual difference throughout the work.
This series of work I am calling Fragments G&C, they are made up of small pieces. Their arrangement is based on geometry and within each piece is graduation or change. They almost look like a new kind of color field, I never know when I begin what will happen exactly, I allow the change, whether it is color, temperature, value, or intensity. In some of the works the change happens up and down, in #134 it is from the lower corner to the upper right corner and back again. And in some of the works the change comes from each side, as in #136.
Geoform is an online scholarly resource and curatorial project whose focus is the use of geometric form and structure in contemporary abstract art being made by artists from around the world.
Geoform explores, documents and celebrates the rich diversity of style and aesthetic intent that characterizes this broad vein of contemporary non-objective abstraction. Such diversity attests to the profound resonance that geometric form and structure have had for people across time and place.
Geoform is edited by Julie Karabenick (karabenick-art.net). It has been online since May, 2005.
I want to thank Julie for including my work on the Groform site. I hope you will go and see, it is a beautiful site!
In Fragments III #130 I am working with a graduation of green and of red to orange. I am reminded of many mountains, like the Sandia de Christo of New Mexico, washed in the color of the sunset, as only in New Mexico, land of enchantment. And in Fragments III #131, the composition is interesting to me. There are color changes and value changes through out the work. There appears to be changes in the patterns, from small to large, because of these changes. It is funny when we work, we may have one thing in mind, and something else happens, just like life.
I am again working at the editing of the series of my work. I think the whole will be stronger because of the editing. But the question of what to keep and what to let go? Sometimes it is difficult, I see a work and I remember, what was overcome to complete the work, it may not be the strongest, and yet it is "dear." I try to be merciless in my decisions, though it breaks my heart to let "my children go, to know they will not go on, will not live." It seems each piece was "a trial by fire."
This piece is my first attempt to work with the circle. If you look carefully the circles at the top are a dark yellow and as they move to the bottom they get lighter. The circles from the bottom are a dark blue-green and move to the top as a light blue-green. They are separated by diamonds which begin on the right hand side as red-purple and as they move to the left they become a light purple.
The diamonds on the left side are a bright red and as they move to the right they become a bright red-orange.
In the Fragments #124 the scale of the grid is one half inch. I wanted to try using grey mixed with black and white, and a grey mixed with red, blue and green. I have hoped the viewer would be able to see a difference, but I don't think it works as I had hoped. I think the difference is too subtle. The area I call the "tipping point" just looks blurred. I will try again. My goal is that one grey will be warm and the other will be cool.
In the second work, Fragments III #125, the size is 30"x30", and the scale of the grid is one inch. So far I think this is the most successful so far. I mixed a dark blue, with purple and the red is a cool red, with yellow added. As you look at the work, from the top,When get to the "tipping point" it is most beautiful as the blue becomes the darker, and the red becomes yellow. I think one reason this works is because, when you look at the work, you are aware something is happening.
Twenty years ago, my work was about grids, made of the squares. I was using the square as metaphor for the urban experience. When I moved to Taos, it seeed the square was just too strong, too much "man over nature." And at last, I added the diagonal line, and it seemed to work for me. Now after all this time, I am able to return to the grid made of squares, by working with the colors of New Mexico. The first grid is based on the two inch square, and the second one is based on the one inch square. In my mind the second works best, just thought I would share and get your opinion. In the second one you can see the clear light of the New Mexico sky, the red you see in the red rock country, and the light of the early morning, as the sun rises above Taos Mountain.
The image is dictated by the
concept behind the work.If the concept
is worthy the artist has the responsibility to find a personal way to
communicate it and the energy to complete the project.
These works are a way to make
the experience of the world visible.Memory or thought never seems to come as a whole, but rather in bits, or
fragments.This series suggests a different way of
viewing the world and aren’t meant to dictate what the viewer should think, but
allows the viewer a place to think.
This series begins with the
creation of the collage.The shapes of cut and pasted colored paper arranged
randomly are meaningless.They don’t
refer to the material world; instead they serve importantfunctions in the compositions.Sometimes the shapes appear to be retreating
-- at other times, they are pushing, shoving, and vying for their own space. In the finished work the viewer is confronted
with a vision of the world that is literally constructed and interpreted from
the physical context of life.
The collages once created are
an inspiration for painting.The works
have limitless possibilities.This allows
for the simultaneous exploration of the mysterious spaces of inside and
outside, figuration and abstraction, past and present, two and
For me, it is the
concept behind the work that dictates the image I create.As Anne Truitt says, “A concept of any
importance seems to carry with it the responsibility of inventing methods for
its actualization, and the energy to do so.”
The concept of
Fragments seems to be a way to make visible how I experience the world; memory,
or thought.Which never seems to be as a
whole, but rather in bits, or fragments.I want to have the sense that the image I
create is new; that I have not seen it
before.It is my intention to give the
viewer a different way of viewing the world.I do not want the images to dictate to the viewer what he should think,
but allows the viewer a place to
I am creating
compositions based on collages I have made.The shapes themselves are meaningless, but in the compositions theyserve importantfunctions.Sometimes they appear to be retreating;
sometimes they are pushing, shoving, and vying for their own space.
The basic principle
of the use of cut and pasted colored paper arranged in juxtaposition that forms
the foundation for an art of limitless associative possibilities.This process allows me to explore
simultaneously the mysterious spaces of inside and outside, figuration and
abstraction, past and present, two and three-dimensional space.
In the finished work
the viewer is confronted with a vision of the world that is literally
constructed and interpreted from the physical context of my life and is a basis
for a collective experience.We see it
together again, for the first time.
I continue to create paintings based on collage and on the grid. For me when I create a new work, I need to create a context for the work by creating a number of paintings in the same manner. In this way I am able to judge the work.