Marking My Territory
CLARE ASCH :
Round Dances and Sarabandes
On view: May Now-29, 2016
In this series I continue to explore the blank space of the canvas, thru the immediacy of light and dark, upon which color exaggerates or defines it.
The blank canvas can be at once exciting and terrifying. I want to abandon it and yet keep its boundaries. I seek perfection by avoiding it.
My process begins with charcoal setting the groundwork, sort of breaking the ice in the relationship. As I continue to define the space, the kinetic process is high energy. Sweeps and strokes of color, drips and blots are combined with graphite sketching and or writing; sometimes revealing a recognizable influence.
This work is about definition of space. I don’t worry about what is being expressed, i.e.; landscape, emotional memory, etc., instead my goal is to be sure that it is worth experiencing.
In my artwork I explore the interaction of chance and predetermined structures. Natural phenomena like gravity and its effect on the flow of water fascinate me. I also have a long standing interest in mark making. This dialogue of chance, gesture and structure is the foundational basis for this series of paintings.
In my most recent watercolors I focus on the circle as the defining form. Rather than structuring my paintings by dividing them into geometric shapes, as I did in my most recent Tidelines Series, I hand draw the curving lines that radiate from the center. Then I paint and pour the colors section by section. This process creates the tension and contrast between chance and structure that I aim for. In some of the paintings the circle expands into a spiraling nautilus shape.
I call this series Round Dances and Sarabandes. I see the circles as being in motion, so I call them “Round Dances.” I call the spirals, which spread outward in a regular but organic procession “Sarabandes” because they remind me of the slow, stately nature of that ancient dance.
Nora Charney Rosenbaum
I layer oil paint in thin glazes over recycled or chemically treated copper to produce an optically complex surface. Light passes through some layers and reflects off others to give an impression of atmosphere and luminescence. Sometimes I scratch lines into the copper and use impasto to enhance the illusion of depth.
I want to capture the sense of equilibrium on the verge of change present in the natural elements of air and water.
GALATEA FINE ART
460B Harrison Ave., #B-6
Boston, MA 02118
Saturday and Sunday 12-5pm