Saturday, April 9, 2011

Rosemary Sloot - Works from 1991 to 2006

Show opens at 7PM, Friday April 8, 2011
Runs until Saturday April 30, 2011

BLACK CROW
2006
oil on canvas
60" x 72"

BLACK CROW was painted for Dan Pakulak, who died too young. The Russian Icon references his background and interests. Dan liked talking to crows. His close friend, photographer Peter Puna, provided the crow image and it was only after the painting was complete that I learned "crow" was Dan's nickname in high school.

Selected Pieces From the Show

  CONDITIONS OF LIGHT
oil on canvas
64" x 86"


I SAW MYSELF IN YOU LIKE A DISTANT SHADOW
2002
oil on canvas, hair, shells and bone
64" x 53"


YOU ARE AS LIGHT AS A FEATHER
2003
oil on canvas, feathers, brass ring
53" x 64"

During the course of producing these works, my husband, painter David Magee died tragically, four weeks before my mother passed away. The dialectic changed and the paintings became intensely personal, something over which I had little control. Time was passing and the topic of the paintings was playing itself out.

In YOU ARE AS LIGHT AS A FEATHER, I deliberately removed David's shadow from its sunny environment and positioned it lurching into an expanse of grey, out of focus water. The box of white feathers references David's work.


ROCK FACE
1994-97
oil on canvas
41" x 41"

Contact us for more details and pricing.

See more of Rosemary's work at her website.

EXCERPTS FROM A TALK AT GALLERY LAMBTON
THE IDEA OF EVOLUTION exhibition, that most of these works were included in, was a logical continuation of the PRIORITY OF TRUTH show in which I also dealt in part, with evolution, particularly of the universe.

These paintings use personal iconography to investigate the interrelation and separateness, the similarities and disparities of the natural environment and aspects of humaneness, and the gradual/ inevitable evolution of both.

In addressing these concerns multi- canvas or layered images and paintings paired with boxes create dialectic between images of the earth's surface and representations of humanity both painted and real. Vague suggestions of landscape or specific locations, the scrutiny of geologic detail and ephemeral images of human kind from "Lucy" to shadows of my husband and me are employed.

This placement of a suggested figure in the landscape comments on the temporality of a human life, as well as our place on and relationship to the geographic location we inhabit.

Shadows act as an archetypal image that keeps the notion of human all inclusive giving the work a wider resonance. Shadows are nothing more than a temporary condition of light, so comment appropriately on the brevity of human time. For me however, they also act as portraits, which is in part due to the fact that the brain recognizes your own shadow as though it were part of your body.

The paintings are not concerned with depicting the landscape in a traditional manner however; they do require attentiveness to the natural world from which we are becoming progressively more estranged. Earth's longevity presents a constant that predates and will endure by millennia human-kind's existence. Its forces produced the human species thereby inextricably linking us to our environment.

General disregard of this simple fact is astonishing. Light and water act as a common thread in these works. Water is  "the place we've come from, whether by way of biology or immigration".

Water combined with Light creates a "spiritual condition". "Both are metaphors for transformation, representing the transitional and the transitory."
("Eric Fischl")

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