Robert Marchessault

Slowlight

2020

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens when I am outside in large open spaces. Painted images act as a tool. I respond to the spaces my art suggests. That response is usually non-verbal. I am interested in the experience of non-duality that “getting lost” in big spaces can sometimes produce for me. The paintings have gone through a range of artistic treatments with the recent years seeing a focus on space, light, textures, atmosphere and distance. My landscape paintings are made from memory, not from on-site drawings or photographs. I use memory as a filtering agent to remove non-essential visual elements. When a work is successful, it must have a sense of poetry. There is nothing “new...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens wh...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens when I am outside in large open spaces. Painted images act as a tool. I respond to the spaces my art suggests. That response is usually non-verbal. I am interested in the experience of non-duality that “getting lost” in big spaces can sometimes produce for me. The paintings have gone through a range of artistic treatments with the recent years seeing a focus on space, light, textures, atmosphere and distance. My landscape paintings are made from memory, not from on-site drawings or photographs. I use memory as a filtering agent to remove non-essential visual elements. When a work is successful, it must have a sense of poetry. There is nothing “new...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens when I am outside in large open spaces. Painted images act as a tool. I respond to the spaces my art suggests. That response is usually non-verbal. I am interested in the experience of non-duality that “getting lost” in big spaces can sometimes produce for me. The paintings have gone through a range of artistic treatments with the recent years seeing a focus on space, light, textures, atmosphere and distance. My landscape paintings are made from memory, not from on-site drawings or photographs. I use memory as a filtering agent to remove non-essential visual elements. When a work is successful, it must have a sense of poetry. There is nothing “new...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens when I am outside in large open spaces. Painted images act as a tool. I respond to the spaces my art suggests. That response is usually non-verbal. I am interested in the experience of non-duality that “getting lost” in big spaces can sometimes produce for me. The paintings have gone through a range of artistic treatments with the recent years seeing a focus on space, light, textures, atmosphere and distance. My landscape paintings are made from memory, not from on-site drawings or photographs. I use memory as a filtering agent to remove non-essential visual elements. When a work is successful, it must have a sense of poetry. There is nothing “new...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens wh...

"Lucy & Ethel", 2017, Oil, acrylic, colored pencil and collage on wood panel by Francesca Reyes. It was created in 2017 and measures 24" H x 36" W x 1" ...

"Door #12 (Magazines)" (2018) by Francesca Reyes Original oil, acrylic and paper on wood panel; measures 8" H x 6" W x 1" D From the artist's door series, depicting doors that she h...

"Door #19 (Smile)" (2018) by Francesca Reyes Original oil, acrylic, pastel and graphite on wood panel; measures 8" H x 6" W x 1" D From the artist's door series, depicting doors that...

"Door #31 (Smudge)" (2018) by Francesca Reyes Original oil & acrylic painting on wood panel; measures 8" H x 6" W x 1" D From the artist's door series, depicting doors that she has p...

"Door #32 (Stripes)" (2018) by Francesca Reyes Original oil, acrylic and tape on wood panel; measures 8" H x 6" W x 1" D From the artist's door series, de...

Diptych. Signed and titled verso. Resa Blatman’s paintings and prints draw upon her innate draftsmanship to craft visions of a future climate dystopia. H...