Jane Booth

Untitled

2018

Karen Silve developed an interest in Post-Impressionist and Fauvist painting, and they informed her early figurative abstractions. She studied in the graduate painting and design pro...

Karen Silve developed an interest in Post-Impressionist and Fauvist painting, and they informed her early figurative abstractions. She studied in the graduate painting and design programs at the University of Denver, creating abstract work that was inspired by the landscape and by the color lessons she learned in France. Later, the Abstract Expressionist painters Willem de Kooning and Joan Mitchell, and the German artist Gerhard Richter became important influences on her work. In 1993, Silve moved to Portland, Oregon, worked in graphic design and began to explore painterly process in a series of meditative paintings. In the late 1990s, she created two extended groups of paintings, first the Musician Series, and then the Cellist Series. Both series focused on players with their instrument, and on a feeling for music expressed through abstracting the human figure, gestural brush strokes and vibrant color. After this she moved on to rhythmic, calligraphic brush strokes and drips of paint. Evolving from this period is the ongoing series of abstract paintings that Silve continues to create. Silve has exhibited her work extensively in solo exhibitions including at the Portland Performing Arts Center, the Forsyth Center Gallery at Texas A&M University, the Visual Art Center of Northwest Florida, the Tuscaloosa Performing Arts Center and the West Linn Public Library in Oregon. Group exhibitions include those at The Institute for American Universities, Aix-in-Provence, France, the Jemison-Carnegie Heritage Hall...

Karen Silve developed an interest in Post-Impressionist and Fauvist painting, and they informed her early figurative abstractions. She studied in the graduate painting and design programs at the University of Denver, creating abstract work that was inspired by the landscape and by the color lessons she learned in France. Later, the Abstract Expressionist painters Willem de Kooning and Joan Mitchell, and the German artist Gerhard Richter became important influences on her work. In 1993, Silve moved to Portland, Oregon, worked in graphic design and began to explore painterly process in a series of meditative paintings. In the late 1990s, she created two extended groups of paintings, first the Musician Series, and then the Cellist Series. Both series focused on players with their instrument, and on a feeling for music expressed through abstracting the human figure, gestural brush strokes and vibrant color. After this she moved on to rhythmic, calligraphic brush strokes and drips of paint. Evolving from this period is the ongoing series of abstract paintings that Silve continues to create. Silve has exhibited her work extensively in solo exhibitions including at the Portland Performing Arts Center, the Forsyth Center Gallery at Texas A&M University, the Visual Art Center of Northwest Florida, the Tuscaloosa Performing Arts Center and the West Linn Public Library in Oregon. Group exhibitions include those at The Institute for American Universities, Aix-in-Provence, France, the Jemison-Carnegie Heritage Hall...

Acrylic on linen painting

Acrylic on linen painting

Acrylic on linen painting

For many years I focused mainly as a sculptor, building large three dimensional wall sculptures and taller than life statues. This is why I paint on wood, because with wood there e...

For many years I focused mainly as a sculptor, building large three dimensional wall sculptures and taller than life statues. This is why I paint on wood, because with wood there e...

Against a backdrop of blue, white, and dark gray vertical strokes suggesting a waterfall, a vibrant blue silhouette of a nude woman takes center stage. With her arms bent behind her ...

Thomas Easley’s mastery of the female form is evident in this reclining nude. Painted with smooth and precise strokes of the palette knife in tonal shade...

Nine miles an hour – that’s the top speed of a rooster in a rush. This rooster is one of Thomas Easley’s more abstract depictions, but he is still unmist...

NOTE: This item is a triptych and the dimensions of each rectangle are 40x20x.75 in "In this painting, the Golden Gate Bridge is shown bustling with traffic across every lane of its mile-wide roadway. Both towers, the cables, and the steel deck of the suspension bridge stand, reddish-orange, in contrast against the blue waters of the strait and the fleeciness of the cloud. For anyone who grew up in Tahoe as Thomas Easley...