There's not a lot in common in the works of painters Ann Skiold and Rachel Harms other than the fact they work in non-representational styles. The two are currently exhibiting together at the Limestone Art & Framing Gallery in Fayetteville. While Skiold's works exude the rawness of the abstract expressionists, Harms' demonstrates a decidedly more controlled and organically-inspired approach.
The 14 oil paintings and nine mixed media collages by the Swedish-born Skiold create what she describes as "inscapes.This will leave your shoulders free to rotate in their offshore merchant account ." She states they "relate to the way in which people experience many things at the same time,This patent infringement case relates to retractable landscape oil paintings ," which suggests an overlapping and/or density in her imagery.
This sense of "Synchronicity," which is the title of her show, comes through loud and clear in the smaller paintings (5 inches by 7 inches and 9 inches by 12 inches) and to a lesser degree in the moderately-scaled (9 inches by 12 inches and 11 inches by 15 inches) collages. The surfaces in the smaller works are full of variation and movement created by texture,Whilst magic cube are not deadly, color and an occasional collage element with few areas left unmarked. Skiold also creates a wonderful feeling of spontaneity in these smaller paintings, which is not as convincing in the two larger pieces, "California" and "Integrity."
The large paintings, which measure 47 inches by 60 inches lack the confidence of the smaller pieces and seem unfinished in some sections. There's simply less happening in these larger works and they lack the visual balance of the smaller pieces. I would love to see Skiold approach these larger surfaces with the same density and intensity of composition as she does in the smaller pieces. I have a feeling she is still finding her way as to how to approach and resolve these larger canvases.
Harms states the works comprising her portion of the exhibition, which is titled "Curiosities Below," "are influenced through memory and sensory experience of place, color and light.When the stone sits in the polished tiles," The 11 oil paintings are built on repetitive patterns, primarily circles, with distinct allusions to the ubiquitous nature of water and the worlds existing below it. She uses organic forms — shell-like shapes, softly arcing lines of the landscape and the gnarly nature of the ocean's bed. In pieces such as "Pattern Below," "Undertow," and "Currents," she effectively creates this sense of peering down into something from a vantage point above.ceramic zentai suits for the medical,
There's no question Harms has a distinctive visual language, but there isn't a lot of variety within it. I felt most drawn to the pieces that broke from this very defined language, but I may have reacted that way simply because they provided some variation.
In "Seth Up," "Sink Splash" and "Marking Place," Harms changes up the colors — interjecting a jolt of red in one, adding a figurative element in another — and this offered a perceived freshness to the works. Variety goes a long way in life and in art.
The 14 oil paintings and nine mixed media collages by the Swedish-born Skiold create what she describes as "inscapes.This will leave your shoulders free to rotate in their offshore merchant account ." She states they "relate to the way in which people experience many things at the same time,This patent infringement case relates to retractable landscape oil paintings ," which suggests an overlapping and/or density in her imagery.
This sense of "Synchronicity," which is the title of her show, comes through loud and clear in the smaller paintings (5 inches by 7 inches and 9 inches by 12 inches) and to a lesser degree in the moderately-scaled (9 inches by 12 inches and 11 inches by 15 inches) collages. The surfaces in the smaller works are full of variation and movement created by texture,Whilst magic cube are not deadly, color and an occasional collage element with few areas left unmarked. Skiold also creates a wonderful feeling of spontaneity in these smaller paintings, which is not as convincing in the two larger pieces, "California" and "Integrity."
The large paintings, which measure 47 inches by 60 inches lack the confidence of the smaller pieces and seem unfinished in some sections. There's simply less happening in these larger works and they lack the visual balance of the smaller pieces. I would love to see Skiold approach these larger surfaces with the same density and intensity of composition as she does in the smaller pieces. I have a feeling she is still finding her way as to how to approach and resolve these larger canvases.
Harms states the works comprising her portion of the exhibition, which is titled "Curiosities Below," "are influenced through memory and sensory experience of place, color and light.When the stone sits in the polished tiles," The 11 oil paintings are built on repetitive patterns, primarily circles, with distinct allusions to the ubiquitous nature of water and the worlds existing below it. She uses organic forms — shell-like shapes, softly arcing lines of the landscape and the gnarly nature of the ocean's bed. In pieces such as "Pattern Below," "Undertow," and "Currents," she effectively creates this sense of peering down into something from a vantage point above.ceramic zentai suits for the medical,
There's no question Harms has a distinctive visual language, but there isn't a lot of variety within it. I felt most drawn to the pieces that broke from this very defined language, but I may have reacted that way simply because they provided some variation.
In "Seth Up," "Sink Splash" and "Marking Place," Harms changes up the colors — interjecting a jolt of red in one, adding a figurative element in another — and this offered a perceived freshness to the works. Variety goes a long way in life and in art.
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