ARTisSpectrum Vol.30, November 2013 - page 70-71

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ARTisSpectrum | Volume 30 | artisspectrum.com
ARTisSpectrum | Volume 30 | artisspectrum.com
71
“M
y paintings are impressionistic,”
Anne-Marie
Crosby
says of her work. “Real enough so
that the viewer knows what he is looking at and
impressionistic enough to feed my soul.” What the
viewer will easily recognize in Crosby’s work is a
series of beautifully rendered skies and seascapes.
Painting in oils on wood panels, the artist uses her
skill as a colorist to give each of those scenes a full-
bodied three-dimensionality. Balancing pastel and
dark shades, she captures the textures of clouds as
well as the many ways that light can set a mood or
create an environment. From deep oranges to clear
blues to soft white and grays, she lets those colors
express the changing nature of the water and sky.
The artist’s approach to painting lets her take full
advantage of that openness to change. Saying that
she “lets go completely” once a painting is under way,
Crosby stresses that she is “just the conduit through which creation occurs,” and that freedom flows from a meticulously
constructed base. Her careful choice of materials and the care she takes with finishing the panels she paints on result in
paintings that have not only spontaneity but an air of elegance as well, making them appeal to the viewer on many levels.
Infinity 4 Oil on Panel 36” x 36”
Anne-Marie Crosby
T
he work of
Susannah Virginia Griffin
runs the gamut from
abstract forms of color, figurative paintings, and reinterpretations
of masterpieces of art history. Each style of painting reflects a
different time and purpose in her life.
The child of a painter, Griffin was fond of drawing in high school and
decided to pursue a career in the fashion industry in college. Her
figurative paintings of women reflect this part of her life and career,
whereas her re-imaginings of classical masterpieces reflect Griffin’s
journey to teach herself how to paint after a visit to the Vincent Van
Gogh Museum.
Even Griffin’s more abstract work contains recognizable subjects,
if one knows where to look. Her pieces are created with impasto
brushstrokes and bold colors, referencing romantic subjects like
knights in shining armor and courtly kings. Griffin herself says, “No
matter the religion, the story remains the same, and it is nothing but
a ‘love story,’ told in many different ways.” Griffin seeks to infuse her
work with the love of an artist for creation, and the love of whatever
god one believes in for every human soul.
Norma Jean Acrylic on Canvas 12” x 9”
Susannah Virginia Griffin
W
hen
Peter Watson
is using his camera, he says he is not involved
in “the normal capturing of an image.” Instead, he calls his process
“collecting electronic data,” a way of reinterpreting what the camera takes
in. As part of that, Watson makes the most of digital photography’s ability
to expand the boundaries of how we see light, color and motion. That
focus on rethinking the art of photography gives his work an energy that
elicits strong responses from viewers, “stretching people’s perceptions
and imaginations” as he says. He records the dynamism of bustling
nighttime streets, but then finds hidden patterns and rhythms in those
environments.
With their neon colors and kinetic compositions, Watson’s photographs
project spontaneity, but at the same time they show the evidence of a
precise technique. With a broad range of experience that includes screen
printing, poster printing and fabric design as well as photography, he
uses his strong eye for pattern and color to give his images a precision
and balance that ground their swirling sense of motion. While the
photographer notes that he creates “chaos inside the camera,” he stresses
that he is always certain of the result that will emerge, and it is that
balance that makes his work so powerful.
LIGHTFALL LED Lights & Acrylic 72” x 48”
Peter Watson
T
he stunning acrylic abstract paintings of
Erasmo Jorge Gomez
are a multi-sensory experience. Gomez describes his technique as
putting the “process of the creation of the work” first, and the result
second. This means eschewing traditional signifiers, narrative, and
stylistic tools in favor of creating pure form. Materiality is key, with
color as its right-hand man.
Gomez’s works explore a variety of painting methods, such as
feathering, dripping, and layering the paint with exquisite control.
His instruments include wooden sticks as well as brushes to apply
pigment, and additions like coffee, tea, wood stain, ink, and watercolor
to mix with the acrylic. The array of textures achieved is limitless, from
glossy graphic color collisions to soft, nebulous clouds of light and
dark. These textures are not only the essential atmosphere definer in
the paintings, but also the subject. Gomez’s compositions simply allow
the paint to expand, to fill the canvas in its confrontational, shape-
shifting way – the colors bloom and flow so naturally that the paint
appears to be moving of its own free will.
Gomez was born in Cuba and today lives just outside New York City.
He has exhibited all over the region, as well as in Florida.
Sombra Acrylic on Canvas 40” x 30”
Erasmo Jorge Gomez
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