By Deborah
Winiarski
With no beginning and no end, the circle represents – across time and cultures – perfection, inclusion, wholeness, the Self, harmony, the infinite. The circle protects and unites, confining what’s within and keeping out the unwanted. The circle and the curve imply movement – the planets’ journeys around the sun, the cycles of life and the seasons, the perpetual motion and energy of all that moves, the rhythm of the universe. It is no wonder that, over the centuries and around the globe, humankind, in its search for the spiritual, has included circles and curvilinear forms in created objects, icons, architecture and art.
Fanne Fernow
Fanne
Fernow, Nimbus 30: You're Killing Me, 2015, encaustic on panel, 12 x 12
inches
“My work is
prayer and meditation. I use copious dots to honor the holiness I see in
the world. I love mantras, repetition of sounds, images, ideas that become
larger and more important with each glance. It is prayer with a
backbeat.”
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Ruth Hiller
Ruth Hiller, intersection,
2015, pigmented beeswax on panels, 24 x 42 inches
“Having been
schooled in a rigorously minimalist fashion, I am driven to create “outside of
the standard straight edged box”. Soft Geometry juxtaposes my interest in
geometry and my desire to deconstruct strict parameters. I search for the
curved intersection of nature and geometry through my use of materials and
shapes.”
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Nancy Ferro
Nancy Ferro, Greenpiece,
2013; found papers, found objects, graphite and beeswax on wood; 22 x 22 inches
“My favorite quotation is a fragment written by
Isaac Bashevis Singer, ‘...the patterns of continuous
creation.’ Using a variety of both found and common materials, I draw from
the past to create the present. This juxtaposition of past and
present, both visual and conceptual, is at the essence of my work.”
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Binnie Birstein
Binnie
Birstein, What Lies Beneath: pool, 2012; encaustic and india ink on panel; 48 x 36
inches. Photo: Patrick Vingo
“Mixing and
combining opposites, playing with analogies and ambiguity, I create a distorted
mix of reality, imagination, and space. My work is dark, ambiguous, and
dream-like. Feelings of dissonance with a sense of mystery and unease
prevail. What Lies Beneath is a series of work all about energy and
spatial ambiguity.”
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Amy Ellingson
Amy
Ellingson, Variation: blue, 2014; oil and encaustic on two panels; 78 x 72
inches.
Photo: John
Janca/Artbot Photography
“My work is
an attempt to confront the enormity of contemporary virtual experience while
asserting the traditional, historic, human activity of painting. Using
ephemeral, computer-generated images exclusively as my source material, I
create paintings that physically assert themselves through the materiality and
permanence of historical painting media.”
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Lynda Ray
Lynda Ray, Turntable,
2016, encaustic on panel, 12 x 12 inches
“My
paintings are containers of time with overlapping transparent layers of color
forming a whole. Organic, geometric shapes and space vie for dominance. My
process sometimes produces unexpected contours like the curve of the macrocosm,
which is bent by mass and energy.”
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Deborah Kapoor
Deborah
Kapoor, Bloodlines, 2015; encaustic prints on paper mounted to wood
circles;
20 x 7 x 3
inches
“I am
interested in the connection between nature and the body. In the Slash and
Burn series, I consider the process of transformation from one state to
another, as it relates to temporal metaphors of geological forms and human
emotions.”
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Corina S. Alvarezdelugo
Corina S.
Alvarezdelugo, Introspectus, 2015; cast encaustic, artist-made paper, and mixed
media on found object; 12 inches in diameter x 10 inches deep. Photo:
Christopher Gardner
“While
working on this recent series, I imagined myself detached from existence,
self-reflecting on what was happening around me. I found myself questioning
my future path. I foresaw changes. During this time of introspection and
repair, rehabilitation happened as the work evolved.”
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