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Fragments Geometry and Change #230
36"x36"
acrylic on canvas

 

It is the idea behind the work that dictates the final image the viewer sees.  When I create a piece of work, I am not trying to tell the viewer what to think or what to see, rather, I am creating a place for the viewer to have his own experience, to see and to think his own thoughts.  Perhaps while viewing the work, the memory springs to life in this unexpected moment.   The viewer might suddenly remember another world that was thought to be forgotten.

 

Through the use of geometry I break the picture plane into many small pieces, which is a metaphor for my life experience, thought or memory.  For me, nothing is ever experienced or remembered as a whole, but instead in fragments.   My work relates to Cubists and Futurists paintings – in which the natural world is translated into a stark pictorial language of shapes, lines and angles.  My intention is the same as Malevich, who said that his intention was to use geometry to convey “the primacy of pure feeling in creative art,” rather than the depiction of visual objects.  

 

From the beginning of the invention of abstraction, Geometric Abstraction has acted as a visual and theoretical counterpoint to the gestural paintings of Abstract Expressionism. To see a variety of approaches to Geometric Abstraction, visit the website Geoform, www.geoform.com

 

My work can be considered color field, first created by Helen Frankenthaler.  When one looks at my paintings, he might be reminded of a visual phenomenon he has witnessed, in nature.  For example, it might be of wind blowing through the leaves of trees, or sunsets in late afternoon, everything changing.  The colors are chosen as a reflection of my inner world, at the same time reflecting the colors found in the world around me.  When viewing the work, the eye of the viewer can follow a color across the picture plane, he can see how the color moves and vibrates as it changes gradually in value, temperature, intensity or hue.

 

As an artist, it is important to me for my work to be authentic.   What is it to be authentic in art?   When I get an idea, I ask myself, does it have anything to do with what I am doing?  Does it have anything to do with what I am trying to say?  It is to honor the intention of the work and to stay with it, like finding the end of a string and following it to its conclusion, without judgement until the work is complete.  Then the work either becomes a part of the current body of the work, or is judged outside the body of work.

 

 

 

The arrangement of accumulated forms, parts of a whole can obscure the single steps taken along an unknown path.                                                                                                                                                                              Annell Livingston