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Melinda Hackett
Canary

2019

About the Item

My paintings refer to organic space and unfixed time. To call them landscapes would be misleading since they are poetic inventions of my imagination, and reference the world of nature rather than depict it literally. One of my purposes in making paintings is to transport the viewer to a necessarily foreign place, where nature can be experienced without knowing it fully, and where reality is communicated through the senses. I am involved in the play of interior and exterior space. On one hand; interior, intimate, house, personal-and on the other; exterior, immense, universe, cosmos. My paintings represent both states, the near, the far, the view through a telescope, the view through a microscope, the sheltering sky, the intimate forest. My paintings create worlds full of images that float, hover, creep, spin, hang, roll or sleep in corners. The images come from an internal source. They contain a vital impulse, and are alive as if subjected to breezes, weather and climatic conditions. My paintings represent states of non linear time. It is less that a singular event is taking place than that a group of different objects are moving through the picture plane at various rates of speed and in opposite directions, some gliding slowly and others whirring as if in a blender. Nature is not in a state of decay, nor is it symbolic or nostalgic for the past. The paintings are largely fragmentary in that they exist in one moment of time, so do they exist in one torn swatch of space. There is a sense that the activity continues outside the borders of the paintings as the forms flirt with the edges or get chopped off by them. Some forms are only just coming into being while others have already 'come out' and some just like to watch. By virtue of their inability to be fully identified, they remain in the realm of the poetic, a sum of images to form a whole. They are meant to be experienced fully through the eye of the viewer.
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    Hackett’s paintings defy popular convention. They are not figurative, decorative, representative, or even completely abstract. While it is hard to tie them to any one style or movement, they manage to be a part of all of them. Hackett’s work is influenced by pattern, midcentury design, art of indigenous peoples, and the art and craft movement...
    Category

    2010s Abstract Abstract Paintings

    Materials

    Oil, Archival Paper

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    Located in New Orleans, LA
    Hackett’s paintings defy popular convention. They are not figurative, decorative, representative, or even completely abstract. While it is hard to tie them to any one style or movement, they manage to be a part of all of them. Hackett’s work is influenced by pattern, midcentury design, art of indigenous peoples, and the art and craft movement, combined with a loose examination of the natural world. She creates a visual environment that is both recognizable yet strangely mysterious. While steeped in art history and influenced by a range of artists from Miro to Arthur Dove, Charles Burchfield, Agnes Pelton, Florine Stettheimer Sonia Delaunay and Hilma af Klimt...
    Category

    2010s Abstract Abstract Paintings

    Materials

    Oil, Archival Paper

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    2010s Abstract Abstract Paintings

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    Hackett’s paintings defy popular convention. They are not figurative, decorative, representative, or even completely abstract. While it is hard to tie them to any one style or movement, they manage to be a part of all of them. Hackett’s work is influenced by pattern, midcentury design, art of indigenous peoples, and the art and craft movement, combined with a loose examination of the natural world. She creates a visual environment that is both recognizable yet strangely mysterious. While steeped in art history and influenced by a range of artists from Miro to Arthur Dove, Charles Burchfield, Agnes Pelton, Florine Stettheimer Sonia Delaunay and Hilma af Klimt...
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    2010s Abstract Abstract Paintings

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    Oil, Archival Paper

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    2010s Abstract Abstract Paintings

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    2010s Abstract Abstract Paintings

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