ARTisSpectrum Vol.30, November 2013 - page 24-25

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ARTisSpectrum | Volume 30 | artisspectrum.com
ARTisSpectrum | Volume 30 | artisspectrum.com
25
T
he work of
Anthony Liggins
moves abstract expressionism
into the 21st century with the use of color and found objects
to create works designed to move people in an illuminating
and positive way.
A practitioner of Eastern doctrines such as Zen Buddhism and
Japanese Wabi Sabi, Liggins believes color is a philosophy
in and of itself, and uses it to impart different emotions and
meanings in his work. Blue, for example, instills a sense of
peace, while red is evocative of power. His multimedia pieces
are created in layers of paint and objects such as yarn, stone,
bamboo, plastic and chopsticks. There is a depth to each work
that generates a sense of apparition and kinetic energy. One
of Liggins’s most unique techniques is what he calls “Chinese
pattern-making,” where he applies a pattern of dots across the
canvas in contrasting colors to create the optical illusion of
movement.
Liggins is a Miami-based artist whose work has appeared in
major museums around the world, including the Smithsonian
Institute. His paintings are visceral, emotional explorations
of bold color, geometric forms, texture and the ways people
experience art, from the visual to the spiritual.
The Last Emperor Mixed Media on Canvas 36” x 36”
Anthony Liggins
Debra Branitz
T
he oil paintings of
Debra Branitz
are meditations on
the play of subtle color and the naturalistic rendering
of different surfaces. Branitz’s love of texture inspires her
to choose subjects for the opportunity they present to
experiment with different painting techniques. The more
subtle the shading or tone of an object, themore attractive
it is to this teacher and artist. “Subjects that appeal to me
are those in which I can depict the intricacies of drapery
and folds through the use of light and shadow,” Branitz
says.
Stylistically,manyof thesepaintings combine the snapshot
feeling of the French Impressionists with the realism of
artists like Gustave Courbet. Branitz’s pieces have the
sensibility of a story told in singular, quiet moments,
much like the work of her heroine, Mary Cassatt. 
With a degree in Art Education and Art History from SUNY New Paltz, Branitz’s work is informed by the oil paintings she sees
in museums like the Metropolitan Museum of Art. Whether the subject is a whimsical still life or a tender, intimate scene,
Branitz brings to her work a mix of realism, impressionism and romanticism that she applies to contemporary life to create
pieces that feel both familiar and new.
Petals and Pearls Oil on Canvas 24” x 30”
dbranitz.com
J
ane Magarigal
says that she was born an “obsessive compulsive
abstract doodler,” and while that self-description reflects both the
spirit of playfulness, and the precise lines, shapes and compositions
that are found in her images, it tends to play down the deeply
original form that her “doodles” take. Working on scratchboard, a
clay-based medium that in Magarigal’s hands produces the kind of
shading, depth and clarity found in etchings, she takes a form that
she says has been discounted as “an elementary school tool,” and
has lifted it to the status of fine art.
Margarigal’s works achieve much of their power from her ability
to manipulate line, composition and color. “Interacting lines and
objects are the primary way I tell my story or express my ideas,”
she notes. She also uses symbols, which sometimes take the form
of representational objects, to convey her thoughts and messages.
And while there is a powerful sense of motion in her images,
Magarigal’s light effects and pastel shades give that motion an
almost ethereal glow. But perhaps most important for the artist
is the conversation her works initiate with the viewer. “Despite my
reasons for creating what I do,” she says, “I really enjoy the stories
that viewers discover for themselves.”
Burial Ground Ink on Clay 31.5” x 25.5” x2”
Jane Magarigal
M
arliese Wagner
makes paintings on paper or canvas by
engineering specific chemical ionic reactions to build numerous
color relationships - a painting technique that is truly all her own.
Wagner’s paintings are entirely derived from her deep interest in
biology and chemistry, especially dedicated to the extreme regions
of the world: volcanoes, desserts, and glaciers. This deep passion is
emphasized by how her work is made with the knowledge that she
has acquired through seven years studying Biology and Chemistry
at the University in Freiburg, Germany, where she earned a PhD.
Wagner employs her expertise, having paintings make themselves
by means of chemical reactions that she expertly orchestrates.
Comprised of splashes, erosions, and surfaces that appear to have
fossilized, Wagner seemingly takes a snapshot of something growing
directly on the canvas. Color in Wagner’s paintings is largely natural,
with neutrals typically assuming a large role in the works. As a process
based artist inspired by nature, it is also apparent that she is immensely
invested in abstraction in her art, as organic forms seemingly plucked
from nature take center stage in the works. Yet, Wagner’s pieces
do not depict actual landforms or specific places, but instead they
indicate the making of a world through paint application to a surface.
Kreuzungen 11
Acrylic & Emulsion on Canvas 31.5” x 23.5”
Marliese Wagner
1...,4-5,6-7,8-9,10-11,12-13,14-15,16-17,18-19,20-21,22-23 26-27,28-29,30-31,32-33,34-35,36-37,38-39,40-41,42-43,44-45,...132
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