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Madeline DenaroThe Consistency of Randomness
$9,500
£7,178.84
€8,289.80
CA$13,274.82
A$14,729.53
CHF 7,715.64
MX$180,623.54
NOK 98,140.32
SEK 92,640.28
DKK 61,822.20
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About the Item
To allow something that I do not control to have an action, to allow oneself to bring this action into a materiality; this is why I make art.
My work is very much about process. I find the image secondary to the art making. Although abstract in nature, there is an underlying visual order that gradually seems to emerge. Working intuitively, I enter a realm of the unknown where there is more of a following than any real choice. I seem to be forever altering and adjusting the framework of some invisible reality.
There is an openness that is needed for this direct experience, this self-imposed repetitive process as I build, destroy, erase, paint over. There is a definite chaos through which each work evolves and it seems to return repeatedly to its beginning. But with each revival there are the markings, the scars of the previous. I have a relationship to these subtleties, these sensitivities, keeping some, hiding some; but knowing full well all that has been before.
- Creator:Madeline Denaro (American)
- Dimensions:Height: 36 in (91.44 cm)Width: 36 in (91.44 cm)
- More Editions & Sizes:n/aPrice: $9,500
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Park City, UT
- Reference Number:1stDibs: LU483315200062
Madeline Denaro
To allow something that I do not control to have an action, to allow oneself to bring this action into a materiality; this is why I make art. My work is very much about process. I find the image secondary to the art making. Although abstract in nature, there is an underlying visual order that gradually seems to emerge. Working intuitively, I enter a realm of the unknown where there is more of a following than any real choice. I seem to be forever altering and adjusting the framework of some invisible reality. There is an openness that is needed for this direct experience, this self-imposed repetitive process as I build, destroy, erase, paint over. There is a definite chaos through which each work evolves and it seems to return repeatedly to its beginning. But with each revival there are the markings, the scars of the previous. I have a relationship to these subtleties, these sensitivities, keeping some, hiding some; but knowing full well all that has been before.
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