What Remains: an exploration of the Erosion Series

As I quietly paint, I have both decisive moments and an earnest, listening eye. In the midst of this what occurs is nuance, serendipity, intuitive associations, chaos, and reduction. Working with abstraction allows me to explore the boundaries between positive and negative space, the use of unusual textures and the mixing of different media. I begin this work flat while adding and subtracting subtle and intense color as well as exploring various types of heavy texture. I allow the water based media to flow and puddle in the valley’s of marks and textures that were first laid down, enhancing the interaction with paint, inks or collaged hand-made papers, gradually adding multiple layers that begin to form the foundation of the urban grids, urban botanicals, character botanicals or weavings. Once color and chaos is achieved across the surface, the pieces then go up on my painting wall where I begin the reduction process.

Studio process shots of Erosion Series: Urban Grid #78

Reduction—the Erosion Series is about seeing the beauty in the natural event of decay and building an aesthetic around it. Like the Japanese wabi-sabi; the acceptance of transience and imperfection, I repurpose and create new life out of past work or begin anew on fresh panels or paper. Inside the studio and out, observing the natural decay of the life cycle has made me appreciate that within reduction the more possibility there will be.

I am fascinated with the push/pull of creating civilizations and nature taking them back. For the grid paintings I begin by taping off the areas of the surface that interest me to begin the formation of the urban street grid as I build the composition between positive and negative space. The urban botanicals focus more on the relationship between nature’s relentless botanical growth in the nooks and crannies of urban architecture. The weavings explore botanical shapes that are either on Arches 300lb watercolor paper or abstracts of sandpaper remnants from my reduction process. These begin with the warp image (the vertical strips) and are then woven with the weft (horizontal strips) to enhance the color or patterns of the piece. The final step is to stitch them together with waxed linen thread. The character botanicals explore eroded botanical shapes seen through the window of letterforms that make a hidden word. Making these paintings is as much a physical experience as a psychological one. I embrace and process the nuances of this work and use the outcome as a vehicle to communicate a narrative about humanity and the natural world around me that exists outside of language. What remains of this process comes together to form all aspects of the Erosion Series.

Gallery 111 @ the Creative Arts Guild in Dalton GA

The Creative Arts Guild in Dalton GA is a fabulous venue to house and showcase these pieces with their commitment to raising awareness of all the artistic disciplines in the community. Join us this Friday, May 3rd, from 5:30-7:30pm for the opening of several shows at CAG.

The Character of Typography

Many years ago when I was in college at the University of Florida, I needed an extra class credit to complete my degree before the grant money ran out. At the beginning of my final semester the university decided that one of my credits from junior college would not be counted due to some hidden agenda to squeeze more money out of a financially strapped student—they never did give me a good reason why this credit was discounted (I've heard this story before). At the eleventh hour I spoke with one of my professors in the fine arts college about my dilemma and the next morning he cleared the way for me to produce three extra assignments using the letterpress equipment that would fulfill the additional requirements for my degree. This was the beginning of my life-long love affair with typography.

Examples of some large movable type made of wood that I used for many of my assignments in 1984

Most of the large type blocks were wood but the university had a pretty good collection of metal type as well. There is something about large letter forms that excite my imagination for I've used typography extensively in my graphic design practice over the years. What I didn't know at the time was that these letter forms would come full circle and excite me once again in my paintings thirty years later. In January I began to experiment with my botanical images in Photoshop by creating a clipping mask of different arrangements of the word "erosion" thus creating a typographical window through which you would see the botanical forms. Within the painting this was achieved by painting out the background/negative space once the botanical forms were complete to create the characters. I love this new direction and plan to make these character botanicals a regular part of my studio practice. 

It's always fascinating to me how everything we do in life has some level of value for the future. There are no true mistakes in a studio for every experimentation of form, color or line within our daily practice always leads to a new twist or direction that enhances our imagery. Once again typography has brought a new character to my work both literally and figuratively.

Old Roads to New Directions

When I get bored or frustrated with my art practice, I always return to mark making. The sheer joy of pushing paint around with no destination in mind usually leads me into a new direction.

Pressing the rewind button allows me to get back in shape with the ACT of painting and in the process I see and feel new intention...new perspective...new possibilities. Now, many people would argue that there is always a signature feel to any artists work that you can never hide—hence old roads. I have found this to be profoundly true. We seem to carry the familiar with us wherever we go. In the midst of playing again, I found that my core interest—natures life cycle—crept right back in and gave me a fresh direction for my Urban Botanicals. I've also added a time constraint to the mix which adds to the intuitive feel of the marks.

I always feel renewed in purpose when my practice grows in shape and form. These new Urban Botanical Speed Paintings are both an old and new reflection of where I'm at as an artist and will act as a pathway to larger pieces that will incorporate urban street grid patterns in twine and collage methodology. 

It really is true that yourself will follow you wherever you go.

New Work

Urban Botanical Speed Paintings are available @ Area 61 Gallery and York & Friends Fine Art

Affinity in Interests

A new Gallery Relationship in Nashville

My latest Pod and Botanical Paintings find a New Home at York & Friends Fine Art 

Every once in awhile you find a gallery relationship that clicks right from the beginning. Maybe its part of southern hospitality but I have been lucky to find not one, but two galleries here in Tennessee that make me feel like I'm part of a family. Here in Chattanooga its Area 61 on the SouthSide and now in Nashville—Ron York's gallery in the beautiful Belle Meade neighborhood on the west side feels like home.

Ron is a dedicated artist and art lover who has a way with making people feel like you've been pals for a very long time. He believes in the importance of art and expression in our everyday lives and York & Friends Fine Art is repeatedly voted as one of the best galleries in Nashville. Within 24 hours he sold one of my Botanicals and has done more promotion for me than anyone in that limited timeframe. Very much the professional—Ron is always seen as an art advocate and builds trust quickly with all who come in contact with him.

Drop by and see my latest series of pieces if your in town—Ron will always welcome you.

New Work

Erosion Series: Seeds #7 @ York & Friends Fine Art

A Return to My Textural Roots

This new body of work is the culmination of where I am today as an artist combined with getting back to my roots. As a former graphic designer, I use this training and experience to craft my discipline of book arts. Since I self-publish this work, I end up with a lot of printer proofs that I save and use as the base elements that begin the Urban Botanicals. I also embed city-block map grids into the base art using different types of twine that are either left in place or cut away as the piece evolves. This is a very laborious process that builds up many layers of recycled materials along with various types of mixed media creating a very healthy amount of visual chaos. 

Using additive and subtractive methods, I begin the reduction process by pruning and simplifying the composition keeping the areas of texture that excite me. It does not matter that much, if not all, of the photos and printer proofs are buried under layers of paint and mixed media. It is the presence and energy of these elements that enrich the surface and add to the history of the piece. I see this work as archaeological in nature — similar to the way that civilizations are built on top of each other. Through this direction in the Elemental Series, I am forging a new footprint that is leading me to a path of both discovery and coming home.

The Urban Botanicals will be on view this Friday evening, April 7th, 5:30-8:30pm at the April First Friday Show Opening @ Area 61 Gallery — 61 East Main Street, Southside, Chattanooga. 

The Nature of Art

by Marie Lauer

Many believe in the healing nature of art. Indeed, scientific studies show that art has a profound affect on healing the mind and body. Add nature to the mix and you have a powerful force for energetic rejuvenation. 

This was the approach that local artist Anna Carll used to create a breathtaking series of paintings for Erlanger Health Systems valet entrance to the Medical Mall here in Chattanooga. The Elemental Series combines nature with intense color to enliven a neglected space in the vast geography of Erlanger's campus. "My vision was to help create a space that both patients and visitors wanted to spend time in and allow the art to do it's magic" says Carll. "Most people aren't aware of the subtle affect that art has on the senses—a deep and visceral response to color and natural forms centers the mind & body and can lead us down a healing path."

The Elemental Series is about seeing the beauty in the natural cycle of life and the passage of time. Carll's images successfully portray this concept in The Four Seasons: Winter, Spring, Summer & Fall. Her modern botanicals dance along the main wall of the lobby while her panel entitled Rain graces the corner wall and reminds us that water is essential to all life on Earth. Carll also uses color as a way-finding element in the hallway leading to the C-bank of elevators. The four Elemental Impressions are colorfield studies that act as wall-level stepping stones representing the colors of the four main elements—earth, water, air & fire. Carll believes that "We are all influenced by first impressions. Subconsciously drawn to color—we will respond and head in that direction." When you round the corner into the elevator lobby you are greeted with Carll's lively depictions of The Four Elements—images that simply grab you and make your wait an enhanced experience.

This is a very cohesive suite of pieces in both palette and concept highlighting Carll's response to the basics of life. Anna Carll's work reminds us that we are all part of the elemental process.