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Katherine Sandoz"(sequoia) back river yellow" - colorful abstract landscape - marsh - Diebenkorn2021
2021
$3,800
£2,918.03
€3,347.45
CA$5,339.45
A$5,979.84
CHF 3,120.18
MX$73,041.20
NOK 39,697.82
SEK 37,419.95
DKK 24,981.58
About the Item
"(sequoia) back river yellow" is an abstract landscape painting featuring hues of yellow, pink, green and black.
Katherine Sandoz is inspired by the work of Helen Frankenthaler, Richard Diebenkorn, Morris Louis, Vincent Van Gogh, Willem de Kooning, Robert Motherwell and Neil Welliver.
Katherine Sandoz is a Savannah, Georgia, based multi-disciplinary artist working in painting, fibers, wall treatments and public art. Sandoz creates richly woven abstract landscapes inspired by landforms and native flora. Utilizing passages of transparent and opaque, warm and cool, textured and smooth layers of water-based media, these dynamic compositions allow the viewer to experience the subject matter from multiple vantage points at once.
Sandoz’s "(sequoia)" is a new series of paintings that examine the idea of 'locus amoenus,' a literary tool which describes an idealized, safe place, a place containing trees, grass and water. 'Locus amoenus' is at once a green world, a feminine place, an expression of a universal spirituality that is nature. A 'hortus conclusus,' or enclosed garden, is also a paradox in that nature is not, can not be, enclosed or walled. All the paintings in Sandoz’s series evoke an idealized landscape while reminding us of the artifice of the picture plane.
The title, "(sequoia)," is taken from the name of the giant trees that grow in northern California. They are the tallest trees, as well as the heaviest by weight, in the world. The initial design and underlying structure for the 28 works in the series originate from a single painting of a large redwood tree stand, yet each painting has evolved into a new distinct landscape. The word 'sequoia,' in this case, is used to connote a sense of something immense, larger than ourselves, and as connected as the trees themselves.
While the locations of each of the paintings are specific and unique, the architecture of the works also allows the viewer the possibility of “any place” being presented. Sand dunes become mountain cliffs, grasses become clouds, a painting can be hung north south or south north. In this way, the viewer draws connections that are both intellectual and emotional as they compare, contrast the formal aspects of the works, observe or ignore the paradoxes woven into the surfaces.
Through the intellectual, emotional and physical landscape of these paintings, we might better recognize the natural world, our place in it, that we are more enmeshed than we allow. The paintings at once offer a salve for the experience of disease, discord, unrest, but they also spur us to be future-facing, to hold ourselves to a higher standard, one that is modeled by the great sequoia.
As her cousin Swiss sculptor Edouard Marcel Sandoz once said, “In art, one has to love everything: nature, science, one's fellow man.” This credo holds true as Sandoz develops multi-layered vistas that offer the viewer opportunities to experience and explore the landscapes and botany of the United States. As with painters like Richard Diebenkorn and Agnes Pelton, Sandoz returns again and again to the work of the greatest designer and inspiration, Mother Nature.
Sandoz studied French and International Relations at Mount Holyoke College prior to receiving an MFA in illustration and an MFA in painting at SCAD. She is a former professor of illustration, also at SCAD. Sandoz’s work hangs in private and public spaces worldwide.
- Creator:
- Creation Year:2021
- Dimensions:Height: 30 in (76.2 cm)Width: 40 in (101.6 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Atlanta, GA
- Reference Number:1stDibs: LU15527815502
Katherine Sandoz
Katherine Sandoz is inspired by the work of Helen Frankenthaler, Richard Diebenkorn, Morris Louis Bernstein, Vincent Van Gogh, Willem de Kooning, Robert Motherwell and Neil Welliver. In recent years, she has created four-year-long projects of which a series called JUBILEE is the last. While painting both indoors and out, from life and photographs, with the JUBILEE series, Sandoz revisits favorite subjects and locations painting them again and again.
After reflecting on the works she has created over the past 25 years, Sandoz represents both subject and mode within the new works. By shifting the palette and alternating the translucence and opacity of the individual passages, Sandoz asks the viewer to shift their perception about what is being shown and from what vantage point or points. With many layers and crisscrossing of complementary colors, the canvas records observations of light, weather, time, color and hints at changing practices, perceptions and perspectives both physical, intellectual and emotional. Most importantly, the work makes notes on the perennial and ever-changing beauty found near to the artist and her home in Savannah, Georgia.
With the marshes, waterways and people of the low-country offering perennial inspiration, Sandoz examines the quotidian and offers work that celebrates what is precious and unique. She studies, analyzes, and re-frames small moments, the mundane, neglected details of the day and the diurnal rhythms that, in turn, inspire illustrations, paintings, fibers-based works, installations and public art.
Utilizing passages of transparent and opaque, warm and cool, textured and smooth layers, Sandoz creates dynamic compositions allowing the viewer to experience the subject matter from multiple vantage points at once. Her paintings and fiber works have been exhibited internationally. She also creates portraits, art and installations for private clients as well as for fashion, contemporary culture and lifestyle brands. She contributes to several magazines and online blogs with her quirky illustrations and writing.
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