ARTisSpectrum Vol.30, November 2013 - page 18-19

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ARTisSpectrum | Volume 30 | artisspectrum.com
ARTisSpectrum | Volume 30 | artisspectrum.com
19
C
apturing nature is the starting point for
Patricia
Neden
’s art, but she moves forward from that to
create a world that is all her own. Her work zeroes
in on the spiritual side of nature, turning the details
of the world she depicts into a personal statement.
In her paintings and silkscreen prints, the natural
environment is “deconstructed, transformed and
reinterpreted to probe the conditions of the soul.”
Subtly working the boundaries between abstraction
and representation, the artist creates images in which
patterns of pure form and color come to represent
the essence of the landscapes that have inspired her.
“I view my work,” she says, “as a contemporary
interpretation rather than a conscious abstraction,”
and the freshness and immediacy of her work
heightens that contemporary feel. Building up layers of impasto, using both knives and paintbrushes, she gives her
works a tactile quality and a powerful sense of movement. She also expertly plays colors off against each other, creating
combinations that add to the energy of her images as well as lending them a sense of harmony and balance. As a result,
Neden’s pieces powerfully draw the viewer in. “My goal,” she says, “is to allow the onlooker to not only see the image, but
to experience it.”
Tragedy at Sea Oil on Canvas 48” x 60”
Patricia Neden
F
rom a distance, the paintings of
Kristina Garon
appear completely
abstract. Upon closer examination, however, layers of faces and
forms emerge from the swirl of color and brushstrokes, slightly
reminiscent of the psychedelic designs of Peter Max.
A Lithuanian-born artist who grew up during the time of the Soviet
Union, Garon says she’s attracted to bright colors because of their
scarcity during her childhood and early adulthood, when she learned
to paint at the Academy of Art in Vilnius. There, under the rules of
the Soviet Union, artists were required to conform to the style of
Social Realism. Now Garon’s work are free-form “deliveries from
the universe” that reflect her inner journey of discovery and life
experience. She prefers to use acrylic paint because it dries quickly,
allowing her to capture the essence of her inspiration as it appears.
There is a balance to Garon’s work that gives the viewer a sense of
stability despite the seemingly chaotic mix of forms: bright colors
supported by soft blues; minute detail nestled in bold, sweeping
color; and positive experiences contrasted against negative. In the
organic, spontaneous strokes of her paint, Garon reveals a little bit of
the search for equilibrium and drive to create that inspires her work
and life.
Kristina Garon
F
or the past 20 years
Nadine Levin
has
offered a renewed sight to the tradition of
landscape photography. For this series, she uses
an infrared camera that distills light and shadow,
revealing a simplified image delivered elegantly in
monochromatic black and white or sepia. Each image
is presented in clarified detail, with every delicate
contour and form demanding pause from the viewer.
Levin often ventures on horseback to capture these
images. Her adventuring spirit supplies the work with
its vitality, while her sensitive framing of each subject
acts to counterbalance the conventional history of
landscape acquisition with femininity, tenderness,
and care. In distilling these natural forms through the
boundaries of the camera’s lens, Levin gives them a
sense of strength, individuality, and adventure that mirrors her own - freezing these bygone moments eternally, at the
charged moment of their discovery.
Through cropping and reframing, Levin harbors and seizes the temporality of the land – stalling its fleeting nature into
photographic form. The fragility of shape, line and texture gives the work an emotive quality, something timeless and
transcendent. She reinvents the familiar, the wild, and the organic to engage a new vision – one made of light and shadow,
which is ostensibly as full of wonder as the subjects themselves.
Movin Across Giclee Print on Canvas 19” x 28.5”
Nadine Levin
B
orn in historical Trondheim, Norway,
Trond Are
Berge
was taught to feel at home in nature and
was strongly influenced by his three decades as a
park ranger. His photographic compositions fully
grasp the raw power and splendor of our natural
world. Each work suggests careful planning to
enhance its subject and dramatically exclaim a point
of view with stark poignancy. His compositions
move line and form into expressions that compel the
viewer to pause, to summon feelings from within.
In this, the artist orchestrates a range of emotions,
uniting structure and color to elicit introspection,
to appreciate those who have learned to live under
open skies.
Trond Are Berge achieves what the mind’s hopes to
see, depicting landscapes that reveal something about nature that we may have long forgotten—its endless embrace and
connection to the soul. The beatific pristine hues and contrasting colors in each work evoke feelings of early creation. His
whimsical “candy houses” incongruously placed against sky and sand contrast the diminutive constructs of man against
nature’s wondrous bounty. Every piece imposes on its subject the will to be alive, to be part of a planet that is continually
evolving, whether in tumult or at peace.
Sunset Rock and the Sea Photographic Print on Canvas 20” x 27”
Trond Are Berge
Unbound Perspectives 34
Acrylic on Canvas 24” x 18”
1,2-3,4-5,6-7,8-9,10-11,12-13,14-15,16-17 20-21,22-23,24-25,26-27,28-29,30-31,32-33,34-35,36-37,38-39,...132
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