“Working with the tondos (circular paintings) occurred to me after seeing the oculus in the dome of the Pantheon in Rome. I thought about how dynamic the landscape and sky might look if they were viewed through this frame. At the same time I was becoming impatient with what you might call the modernist treatment of the pictorial space as continuous with the surrounding world. Degas’ technique of continuing a dancer’s extended arm beyond the edge of the frame became a revolutionary mode of composing space vis-à-vis the edges of the rectangle. He took advantage of the aesthetic possibilities of photography. We seem to take that relationship to the rectangle for granted now. I adore Degas’ awkwardly posed bathers, but I also wanted to investigate new ways of composing that were not dependent on the vertical and horizontal axis. This approach to making the work metaphorically underscores the feeling that I have when I am in the landscape, especially in the mountains or near rivers.”
“Although many viewers see my paintings as pictures, however improbable, what I am mainly after is a mood or tone. I usually stop when the light in the painting becomes interesting, when there’s a feeling of luminosity coming from within the painting. Noctunes appeal to me because there’s a mystery to being out on the open ocean at night and any bit of light, either from stars or phosphorescence provides dramatic contrasts – after all, I’m trying to speak a visual language.”
“I love the challenge of choosing a subject. Choosing a plein air painting spot in the landscape has become less about a literal place and more about a sensation or idea. Out of the corner of my eye, I might get a taste from a pair of color relationships or intriguing violence from two colliding shapes; and, then with a starting point to jump off from, I see if things can unfold enough to build a painting. With plein air, keeping a balanced collaboration with “the world” is important to me, even though I am conscious of the complete reconstruction that is inherent. I am in a constant ethical and perceptual battle with painting about how far I allow myself to go away from “the world.”
Exhibiting in the United States and abroad for more than 25 years, REBECCA ALLAN‘s most recent solo exhibitions were presented at: Lillian August Gallery, Norwalk, CT; Rall Gallery at Doane College in Lincoln, Nebraska: ArtLab78 (New York), The American Church in Paris, Ringling College of Art and Design/Longboat Key Center for the Arts; Seattle Art Museum Gallery; John Davis Gallery (Hudson, NY); and Gallery 2/20 (New York). Allan has been a Fellow at the Hermitage Artist Retreat, Virginia Center for the Creative Arts, and Dorland Mountain Arts Colony.
KATHERINE BRADFORD is the recipient of numerous awards including a Guggenheim Fellowship, the American Academy of Arts and Letters Award, and grants from the Pollack-Krasner Foundation and the Joan Mitchell Foundation. Some of the work in this portfolio may be seen currently (Jan. 9 – Feb. 14, 2016) at CANADA on the Lower East Side, New York City. Her work has been the subject of several solo exhibitions, most recently at the Fred Giampietro Gallery, New Haven, CT, Arts & Leisure, a Project Space of Freight & Volume, NYC, Adams & Ollman, Portland, OR, Sarah Moody Gallery of Art, University of Alabama, Tuscaloosa, Bowdoin College Museum of Art, Brunswick, ME, Steven Harvey Fine Art, Edward Thorp Gallery, both in New York City. Bradford divides her time working in Maine and New York. For more information on this artist, visit: kathbradford.com and canadanewyork.com.
RICK FOX lives in Kittery, Maine. Represented by Gallery Naga, Boston, he will be exhibiting in the February 2016 show “A Dysfunctional Family: Portraits by Gallery Naga Artists.” During the summer of 2015 he lived on Cranberry Island, ME as a participant of the Heliker-Lahotan Foundation painting residency. The summers of 2013 and 2014 were spent teaching and painting in Ascoli-Piceno Italy. Recent exhibitions include: the Royal Scottish Academy, Edinburgh UK, the Hampden Gallery, University of Massachusetts, Amherst, the Museum of Art, University of New Hampshire, the Prince Street Gallery, NYC and the Grunewald Gallery of Art, Indiana University. Twice a recipient of the Elizabeth Greenshields Grant (Montreal), Fox also received a grant from the National Endowment of the Arts and the William James Association to administer and teach a painting and drawing program at the Federal Prison, FMC Devens. He has been teaching painting and drawing full-time at the University of New Hampshire since 2010. For more information, visit rickfoxpaintings.com and gallerynaga.com.