ARTisSpectrum | Volume 29 | artisspectrum.com
ith both acrylic paint and paper
Sandra McRae
finds the
fluidity and relationship between seeming-
ly disjointed shapes. McRae builds images
out of blocks of color — imperfect, varied
shapes that manage to be both graphic and
appealingly three-dimensional. Maintaining
a hand-drawn aesthetic and often shading
her colors just enough to add depth, McRae
creates playgrounds of color where angles
truly collide and lines of light and dark streak across the canvas.
Form and color are combined in countless, complex ways so that they take on direction and meaning. The strength of
these works is that the basic visual elements of image-making are not presented as deconstructed, but make expressions
of their own. Some canvases show just a few squares and rectangles of red and black dancing around each other, while
others are made up of a hundred little pieces, spanning the rainbow without ever becoming formulaic. McRae’s ability to
move from paint to collage and still preserve her artistic vocabulary only underscores her idea that shape and color are
fundamentally connected.
Sandra McRae was born in Australia and today lives and works in New York. She began creating art as an adult, and hopes
that her work will “evoke visceral responses from the viewers.”
A Blip on the Landscape Acrylic on Canvas 17” x 40”
Sandra McRae
Eduardo D. Rubin
n his photographic images, Argentinian-American
Eduardo D. Rubin
focuses primarily on the
capturing of solitary moments in time in order to gain
a new perspective on reality. In each image, Rubin
expertly configures the elements of space and light
in fascinating ways, inspiring the viewer to take an
entirely new approach to the way they see the world.
Compositions are edgy and terse, creating interest and
depth, while still displaying all the incredible beauty and
wonder there is to be found in everyday forms.
With a background in social psychology, Rubin is
able to view his subjects through a humanistic lens
in which layers of meaning can be found within the
most commonplace of objects. For Rubin, there is an
art to finding the perfect shot, to configuring the ideal
composition where the subject is captured with defenses lowered: unprotected, bare, raw. Indeed, he considers this an act
of voyeurism, of watching without being watched. As he describes his process, “If you are in dark and they are in light…
you are invisible. And this is the secret: being invisible and catching the momentum.”
Eduardo D. Rubin currently lives and works in south Florida in the United States.
Solo Digital Print on Paper 18” x 28”
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