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Carole Eisner
L'Isola, abstracted figures, acrylic painting on canvas

1987

About the Item

Eisner has been active as both a painter and a sculptor since the 1960s. After receiving a BFA in painting from Syracuse University, Eisner worked as a designer for several fashion houses in New York City before turning to full time painting and sculpture. As she developed as an artist over the decades, there was a cross influence between her work in both sculpture and painting, as she moved through phases of abstraction and figuration. After exploring the freedom of Jackson Pollock’s drip paintings, the Abstract Expressionism of Helen Frankenthaler and Hans Hofmann, Eisner began to paint in a geometric style, resulting in a series of about 30 paintings made between 1979-1982. This series was driven by an intellectual pursuit with shape, line and color. “I was intrigued by the relationship of colors in juxtaposition to each other. It was a season of color field painting, and I developed a visual vocabulary of forms to animate the canvas,” says Eisner. “After I achieved what I had set out to do in the geometric series, I turned to looser, figurative work. I wanted to portray energy, action and color and realized I had missed the emotional, human element.” Watching her children involved in dance and sports had a profound impact on the body of paintings that ensued. As Eisner watched countless ballet, swimming and wrestling events, she set out to capture this fluidity and action in paint. At the same time Eisner had discovered striated brushes in a commercial paint store. These tools led to a new style of applying paint that was looser, freer. She created textures, stripes and experimented with crosshatching and layering. This was the antithesis of the saturated, opaque quality of the geometric paintings, and she soon found herself immersed in an exciting new phase that she would pursue for the next two decades.
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