Strata 19 Set A
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Francie HesterStrata 19 Set A2018
2018
About the Item
- Creator:Francie Hester (American)
- Creation Year:2018
- Dimensions:Height: 72 in (182.88 cm)Width: 25 in (63.5 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1684185762
Francie Hester
The art of Francie Hester evokes the feeling of a secret or memory being uncovered. Her contemporary abstract pieces may seem chaotic at first, but patterns begin to emerge upon closer inspection. Using mathematical and geometric principles, Hester creates paintings, drawings and sculptures that strive to bring order to chaos and draw out the unknowable.
Born in 1959, Hester focused on art from an early age. She earned a BFA from the University of Michigan in 1982 and an MFA from the University of Maryland in 1994. She held her first solo exhibition at Anton Gallery in Monterey, California, in 2006 and has since exhibited across the country and around the world.
Hester also creates large-scale public commissions. One of her most well-known site-specific works is Wordfall, a 2016 installation for the lobby of the Sloan Kettering Cancer Center in New York City. The stunning piece, which drapes down from the high ceiling, is made from over 80,000 paperclips wrapped in the words of poetry from Brendan Ogg, a young cancer victim.
Hester is the recipient of several honorary grants, including from the D.C. Commission on the Arts and Humanities, the Arts Council of Montgomery County and the Maryland State Arts Counsel. Her paintings and sculptures are held in many private and corporate collections, including those of the International Monetary Fund, the World Bank, Capital One and Ernst & Young.
Hester lives and works in Boulder, Colorado, and Silver Springs, Maryland, and is represented by Susan Eley Fine Art in New York. In 2022, she was one of the featured artists at an exhibition presented by the Carl Cherry Center for the Arts in California called "The Most Beautiful Mistake You Can Make." A perfect fit for Hester's work, the show explored how random errors can stimulate artistic creativity.
On 1stDibs, find Francie Hester paintings, drawings, sculptures and more.
- Crossing Lines #11, abstract mixed media painting on aluminum, red and whiteBy Francie HesterLocated in New York, NYCrossing Lines The exhibition also includes Crossing Lines, a series created in collaboration with interdisciplinary artist Lisa Hill. This series draws on...Category
2010s Contemporary Abstract Paintings
MaterialsMetal, Wire
- Crossing Lines #15, abstract mixed media painting on aluminum, multicoloredBy Francie HesterLocated in New York, NYCrossing Lines The exhibition also includes Crossing Lines, a series created in collaboration with interdisciplinary artist Lisa Hill. This series draws on the literal and figurati...Category
2010s Contemporary Abstract Paintings
MaterialsMetal, Wire
- Crossing Lines #2, abstract mixed media painting on aluminum panel, greenBy Francie HesterLocated in New York, NYCrossing Lines The exhibition also includes Crossing Lines, a series created in collaboration with interdisciplinary artist Lisa Hill. This series draws on the literal and figurati...Category
2010s Contemporary Abstract Paintings
MaterialsMetal, Wire
- Crossing Lines #3, abstract mixed media painting on aluminum panel, blue tonesBy Francie HesterLocated in New York, NYCrossing Lines The exhibition also includes Crossing Lines, a series created in collaboration with interdisciplinary artist Lisa Hill. This series draws on the literal and figurati...Category
2010s Contemporary Abstract Paintings
MaterialsMetal, Wire
- Intertwined N, multicolored mixed media painting on aluminumBy Francie HesterLocated in New York, NYPainter Francie Hester, born and raised in Columbus, Ohio, lives and works outside of Washington, DC. In 1999, Hester abandoned the traditional practice of painting on canvas to explore the properties of painting on aluminum...Category
2010s Contemporary Abstract Paintings
MaterialsMetal
- Crossing Lines, Intersections #2, blue and green mixed media paintingLocated in New York, NYThe exhibition also includes Crossing Lines, a series created in collaboration with interdisciplinary artist Lisa Hill. This series draws on the literal and...Category
2010s Contemporary Abstract Paintings
MaterialsMetal
- Light and the Ladder (no. 5)Located in Maribor, SIKinetic Minimalism of the Light “Rimele went even further; in his installations, he studied the laws of colour reflections and shadows with care and thus created magical new worlds in which materiality intertwines with their coloured shadowed dematerialisation.” Dr. Jure Mikuž December, 2012 (in the book Oto Rimele. Spirituality of Material Absence, p. 28) In the past tradition of painting, only the frontal parts of paintings were always the carriers of the content. I broke this millennial tradition and focused my attention on applying colour onto the edges and the back of the painting. These parts of my painting compositions are hidden from the viewer's eye and are visible only indirectly – as reflections of the paint reflecting onto the wall area, addressing the viewer with their immaterial presence. This creates coloured light and coloured shadows, which change in the intensity of the coloured radiation in daylight. A single painting composition, however, does not show just one static image, but addresses the viewer with a multitude of images generated by the changing daylight throughout the day. The attentive observer experiences such kinetic pictorial images personally and as a complete mental (spiritual) experience. In the paintings of past periods, light is depicted only indirectly – as an “illuminator” of the materiality of the pictorial motif. For me, light itself is the central motif of painting exploration. In my luminous painting objects, however, I do not depict light, but create it. It is an actual, present light that communicates with the viewer as a living, moving part of the artistic message. In the series of fourteen images entitled Light and Ladder...Category
2010s Contemporary Paintings
MaterialsMetal
- Light and the Ladder (no. 2)Located in Maribor, SIKinetic Minimalism of the Light “Rimele went even further; in his installations, he studied the laws of colour reflections and shadows with care and thus created magical new worlds in which materiality intertwines with their coloured shadowed dematerialisation.” Dr. Jure Mikuž December, 2012 (in the book Oto Rimele. Spirituality of Material Absence, p. 28) In the past tradition of painting, only the frontal parts of paintings were always the carriers of the content. I broke this millennial tradition and focused my attention on applying colour onto the edges and the back of the painting. These parts of my painting compositions are hidden from the viewer's eye and are visible only indirectly – as reflections of the paint reflecting onto the wall area, addressing the viewer with their immaterial presence. This creates coloured light and coloured shadows, which change in the intensity of the coloured radiation in daylight. A single painting composition, however, does not show just one static image, but addresses the viewer with a multitude of images generated by the changing daylight throughout the day. The attentive observer experiences such kinetic pictorial images personally and as a complete mental (spiritual) experience. In the paintings of past periods, light is depicted only indirectly – as an “illuminator” of the materiality of the pictorial motif. For me, light itself is the central motif of painting exploration. In my luminous painting objects, however, I do not depict light, but create it. It is an actual, present light that communicates with the viewer as a living, moving part of the artistic message. In the series of fourteen images entitled Light and Ladder...Category
2010s Contemporary Paintings
MaterialsMetal
- Light and the Ladder (no. 13)Located in Maribor, SIKinetic Minimalism of the Light “Rimele went even further; in his installations, he studied the laws of colour reflections and shadows with care and thus created magical new worlds in which materiality intertwines with their coloured shadowed dematerialisation.” Dr. Jure Mikuž December, 2012 (in the book Oto Rimele. Spirituality of Material Absence, p. 28) In the past tradition of painting, only the frontal parts of paintings were always the carriers of the content. I broke this millennial tradition and focused my attention on applying colour onto the edges and the back of the painting. These parts of my painting compositions are hidden from the viewer's eye and are visible only indirectly – as reflections of the paint reflecting onto the wall area, addressing the viewer with their immaterial presence. This creates coloured light and coloured shadows, which change in the intensity of the coloured radiation in daylight. A single painting composition, however, does not show just one static image, but addresses the viewer with a multitude of images generated by the changing daylight throughout the day. The attentive observer experiences such kinetic pictorial images personally and as a complete mental (spiritual) experience. In the paintings of past periods, light is depicted only indirectly – as an “illuminator” of the materiality of the pictorial motif. For me, light itself is the central motif of painting exploration. In my luminous painting objects, however, I do not depict light, but create it. It is an actual, present light that communicates with the viewer as a living, moving part of the artistic message. In the series of fourteen images entitled Light and Ladder...Category
2010s Contemporary Paintings
MaterialsMetal
- Light and the Ladder (no. 3)Located in Maribor, SIKinetic Minimalism of the Light “Rimele went even further; in his installations, he studied the laws of colour reflections and shadows with care and thus created magical new worlds in which materiality intertwines with their coloured shadowed dematerialisation.” Dr. Jure Mikuž December, 2012 (in the book Oto Rimele. Spirituality of Material Absence, p. 28) In the past tradition of painting, only the frontal parts of paintings were always the carriers of the content. I broke this millennial tradition and focused my attention on applying colour onto the edges and the back of the painting. These parts of my painting compositions are hidden from the viewer's eye and are visible only indirectly – as reflections of the paint reflecting onto the wall area, addressing the viewer with their immaterial presence. This creates coloured light and coloured shadows, which change in the intensity of the coloured radiation in daylight. A single painting composition, however, does not show just one static image, but addresses the viewer with a multitude of images generated by the changing daylight throughout the day. The attentive observer experiences such kinetic pictorial images personally and as a complete mental (spiritual) experience. In the paintings of past periods, light is depicted only indirectly – as an “illuminator” of the materiality of the pictorial motif. For me, light itself is the central motif of painting exploration. In my luminous painting objects, however, I do not depict light, but create it. It is an actual, present light that communicates with the viewer as a living, moving part of the artistic message. In the series of fourteen images entitled Light and Ladder...Category
2010s Contemporary Paintings
MaterialsMetal
- O-5Located in Maribor, SI“The oval paintings give the feeling that somewhere in their essence, invisible to the human eye, there is a light source, which disperses the cleansed and superior light through the reflective whiteness of the wall into the space.” Dr. Nataša Smolič In this oval artwork color is present like the natural reflection of the painted canvas outside the painting surface at the paintings back. So, the source of colour isn′t any electric source. It happens naturally like a reflection on the wall. I′m researching this praenomen more than a two decades. A non-material reflection on the wall appears as a reflection of the painted object. And in daylight it changes all the time. You are kindly invited to see a video of that process on my homepage : video1 and video 2. On the back of the solid wood support panel there is intensive acrylic paint, which is only visible as a reflection of red color on the wall. I used oil paint for the front of the painting. The wooden panel of the picture was hand-shaped at the front into a slightly convex shape. . . . . . In the past tradition of painting, only the frontal parts of paintings were always the carriers of the content. I broke this millennial tradition and focused my attention on applying colour onto the edges and the back of the painting. These parts of my painting compositions are hidden from the viewer's eye and are visible only indirectly – as reflections of the paint reflecting onto the wall area, addressing the viewer with their immaterial presence. This creates coloured light...Category
2010s Contemporary Abstract Paintings
MaterialsWood, Wax, Oil, Acrylic
$16,214 - Large Colourful Impressionistic Figurative Painting "Cuba"By Claire Denarie-SoffiettiLocated in Cape Town, ZAA unique, medium to large scale figurative painting with a vivid, exotic background. The painting style shows influences from the post...Category
2010s Contemporary Portrait Paintings
MaterialsCanvas, Varnish, Wax, Oil, Acrylic