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Sharon FederTrainyard No. 12
$5,000
£3,712.23
€4,325.77
CA$6,941.62
A$7,764.63
CHF 4,040.76
MX$95,585.28
NOK 51,406.85
SEK 48,229.76
DKK 32,274.59
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About the Item
Represented by George Billis Gallery, NYC & LA -- Humanity is archival, like the strata that compose the earth. Our structures and art, superfund sites to cathedrals, exist because of us. The things we create form layers upon the earth, reflecting humankind, interwoven with the natural world that birthed us. We make the marks we make, like creases in one’s face, witnessing and demonstrating the story of each life.
"We won’t be here forever. We can’t be. It is not tragic. Our choice is whether to exist in fear, or to see our existence as a celebration of our existence. Life is archival.
"My paintings contemplate the geometry and emptiness of structures, visually and metaphorically. Like silent sentries, structures observe, record and imply change in time. Buildings, as elements in the gigantic still life constructions that form our urban environment inform both an understanding and unity with the made and natural world."
Colors: Yellowe, Orange, Red, Blue
Notes: Trains, Locomotive, Industrial, Urban
- Creator:Sharon Feder (American)
- Dimensions:Height: 36 in (91.44 cm)Width: 36 in (91.44 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Fairfield, CT
- Reference Number:1stDibs: LU18321194463
Sharon Feder
Feder’s paintings depict the almost forgotten corners of our fast-changing urban areas, focusing on alleyways and industrial buildings off the beaten path. The paintings are vibrant with textured surfaces created through skilled manipulation of the paint - they are technically full of value and tradition. Within each composition lies a tension between realism and abstraction; representation and the geometric. Feder draws inspiration from neighborhoods in Los Angeles and Denver areas. However, the location almost becomes irrelevant as she teases out the universal in the byways of the industrial edges of our sprawling cities. These paintings could be anywhere. Her paintings are uncluttered by urban debris - the buildings are perhaps abandoned but not rundown. The linearity of these forms becomes the structure for her study of color, light, shadow, and reflection. These buildings and power lines have become the man-made landscape taking the place of hills and trees. In essence, Feder is a modern landscape painter - her landscape is the mountain range of urban industrial sprawl. Feder writes, “focusing on urban imagery and on the universality of human vision, these paintings speak to the angst of our post-industrial world; as the forms we construct and the terrain we inhabit mirror our notions of self, these images are thereby explorations of our solitude, our history, and our interconnection. In subject matter and through rhythmic compositions of form and color, the paintings document and celebrate the choreography of our existence.” Sharon Feder completed BFA coursework at the University of Washington, Seattle and received her BA in Fine Art from Regis University, Denver. Feder has exhibited extensively in the metropolitan Denver area and has shown with George Billis Gallery Los Angeles and New York. In 2014 Feder exhibited a large body of work at the Boulder Museum of Contemporary Art. She has painted over 60 murals and painting installations in commercial and residential venues, both interior and exterior in Aspen, Denver, Telluride and Palm Beach. She currently lives and works in Denver, CO.
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