Susan Woldman

Susan Woldman - Windmills, Painting 2019

2019

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 flowers. This is my m...

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...

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 flowers. This is my most recent series and I am allowing my art to guide me. Each painting takes me to the next, within which I seem to stretch into something new. What had been more abstract is now blooming and I love the addition of flowers and all the endless directions this can lead me to. Just as a flower bud holds the full picture of its bloom, so too do these paintings hold a fuller...

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...

HORIZON Series: "This series is inspired by form rather than color. By limiting myself to a mostly black and white palette I’m able to more freely explore the dynamic of space and h...

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...

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...

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...

"Home" is an abstract artwork by Stan Olthuis composed of acrylic paint on baltic birch panel. Home measures 40" high by 30" wide by 1" deep. Typical of the artist, this minimal geometric abstraction resonates with a rich charge. It's a sculpture and a painting. The lines are elegant. The artist's obsession with geometry and intersecting shapes is a clear gesture here. The eye delights in the formal play of shape and color, while the mind engages the material force of the wood and paint. From Stan Olthuis – "My work has always involved tactility and expressionistic energy. I visualize the story and imagery simultaneously, allowing the work to surprise me and come to life as I work. I am almost careless in how I use color and texture, facing the fear of improvising on-the-fly. I like to leave the obvious raw record of the process visible, but I believe a mystery remains." Stan Olthuis looks for expressive opportunities in found and harvested raw material – wood, stone, metal, rubber – and brings a fabricator's expertise to the work of making minimalist, joyful sculptures. Geometry is key, as are a sense of play and an adept's feel for sacred energies. His work is exhibited and collected internationally, including private and corporate commissions in Canada, United States, France, Japan and Norway. Stan is represented by Gagné Contemporary in Toronto and New York City, and has select works available through the Art Gallery of Ontario (AGO), and Motokawa Gallery in Japan. Stan Olthuis' formal education began in Chicago with Henk Krijger, the celebrated master printmaker, type designer, painter and sculptor. Back in Toronto, Olthuis graduated (with distinction) with a degree in Experimental Arts at Ontario College of Art & Design (OCAD), studying under artists Fred Hagen, Tom Hodgson...

"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 ...