Susan Woldman

Susan Woldman - Spumato, Painting 2018

2018

FLOWERS Series: "I have journeyed through black and white, expanding my visual grip of form, light and reflection. Now the seeds I’ve planted along the way are blossoming into flower...

SQUARE UP Series: "I love working in squares because they naturally evoke a sense of balance. Whatever tension is created in the image itself, a square resolves with its ‘even’ sides...

BLUE Series: "People look at these paintings and ask "Do you live by the ocean?" No. I live in New York City. I've lived here most of my life and I've also been an artist since I can...

BLUE Series: "People look at these paintings and ask "Do you live by the ocean?" No. I live in New York City. I've lived here most of my life and I've also been an artist since I can...

FLOWERS Series: "I have journeyed through black and white, expanding my visual grip of form, light and reflection. Now the seeds I’ve planted along the way are blossoming into flower...

BLUE Series: "People look at these paintings and ask "Do you live by the ocean?" No. I live in New York City. I've lived here most of my life and I've also been an artist since I can...

Title - Smashing Pumpkins. Acrylic Painting by Artist Troy Smith. The painting is signed by the artist on the back and comes with a small brass plaq...

Title - Blue Dream. Acrylic Painting by Artist Troy Smith. The painting is signed by the artist on the back and comes with a small brass plaque with the artist's name. Comes with ...

Endless Night was painted by Troy Smith in acrylic on a Birch panel. The long arching palette strokes reach from one edge of the painting to the other. Blending only two colours, bla...

Pyre VII 2017 India ink and acrylic paint on charred birch plywood 32" x 24" x 1.25" Pyre VII is part of a series of charred panels Watson completed in 2017 at the Arts, Letters and Numbers Residency in Averill Park, NY. The pieces incorporate local materials, rice, and fire to create charred photographic images on plywood that explore themes related to being, substance and imperceptibility. The imagery references the practice of cremation on a funerary pyre in which the corpse is prepared and burned over a construction of combustible materials. Within the work, rather than destroying the body, the fire produces an afterimage that remains indefinitely. Each day Watson would scavenge the site collecting natural objects, such as sticks, small rocks, and other detritus. He laid these objects on the surface of the plywood with raw rice. The surface was then charred using a propane torch. After the objects and rice were removed an image of them remained, like a photogram. In some panels, He incorporated a homemade black rice ink or various paints to tint the surface before and after burning. Rice is a recurring theme in Watson’s work. It alludes to an uncontained body in the process of decay, returning to the earth to become a source of sustenance for new life. It also imagines the soul extending beyond its fleshly container. The act of burning attempts to capture the space between life, death, and rebirth— freezing it in a state of transformation. The sticks, stones, and rice become remnants of life and markers of space and time. They are more than mere grains and detritus. They become the body as a trace of what was and a reflection of what will be. Michael Watson...

"I want the Color Bombs to be beacons of positivity that can radiate across the room or whisper quietly beside you. I love the freedom and openness of color. These works don’t bring ...

All Inclusive (Space Fields) 9” x 25” x 2” Carved wood panels, acrylic, found wood Terri's painted wall sculptures explore the fluidity of space by having colors coexist to unify...