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Jeanette Fintz
Tirtaggana (Contemporary Abstract Violet Painting on Stitched Raw Linen)

1998

About the Item

60 x 72 x 1.5 inches acrylic on canvas This painting is being offered by Carrie Haddad Gallery, located in Hudson, NY. Tirta gangga means WATER PALACE and is a former royal palace in eastern Bali, Indonesia, about 5 kilometres from Karangasem, near Abang. It is noted for its water palace, owned by Karangasem Royal. Large, horizontal abstract painting with a palette of deep violet, mauve, beige and nude pinks, the artist uses custom built brush comprised of various heads that allow for her to make stacked, continuous strokes. Acrylic is applied to a raw linen that has been stitched in various places adding grit and texture to the surface. The paint absorbs into the fabric like watercolor, allowing for drips that create a 'watery reflection'. This painting was inspired by time spent living in Thailand where the air was heavy with moisture, the colors and spices were vibrantly colored and she found herself constantly surrounded by water. About the artist: Color is my most intuitive source of inspiration, connecting me to nature; It is also, ironically, my most passionately calculated element. In the primal struggle among sometimes apparently random components, subtlely modulated color clarifies purpose, builds context, and holds the structure together. I am drawn to create complexity, and challenged to unify multiple layers through the physicality of the paint, which fuses & knits together, as well as, ultimately, through the power of color to stabilize & resolve. My paintings evolve in a space between planning & chance, systems & spontaneity, conveying contradictions that I view as metaphors for maneuvering through “real “life. In this work I play a fairly high stakes game of improvisation around a motif. Using a working method akin to jazz, I counterpoint systematically repeated elliptical shapes against gestural pours & drips and something unexpected emerges. I am drawn to create complexity, and challenged to unify multiple layers through the physicality of the paint, which fuses & knits together, as well as, ultimately, through the power of color to stabilize & resolve. Dynamic visual rhythms, in these pieces, the momentum of the repetitive ellipse, are typical of my work and help to maintain order within complexity. Their sources for me are both musical, notably the poly-rhythms of Latin jazz, Brazilian & East Indian music, and are also derived from the decorative arts, particularly textiles. The latter have been a source of excitement, often contributing a playful aspect to the paintings. I intentionally disturb the regularity of pattern, encouraging discordance & uniqueness, and then bring it back home after finding another by - way to work things through.
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