Englestein’s medium has been called “rare and well done,” by Harice Leavitt of Pioneer Press. Each finger-woven circle represents a facet of life linked exponentially to the next, ultimately creating the whole cloth of our existence. She was one of twelve American artists whose work was selected to appear in the 5th International Biennial of Tapestry & Fiber Art at Beauvais, France, 2002.
I engage the viewer physically through an invisible inhaling human presence. Rhythmical breathing in and out is the remains of manipulated recordings of a human voice reading a short German text. What remains seems to be, not only the in-between of talking, but also an in-between of a mental state – being undecided, hesitant, under tension as well as trying to hold back emotions, but becoming expressive the same time by doing so. The word “licht” (light), as the only unedited word, is the only release of tension for the listener as well as the speaker. This light ties sound and video which shows the slow-motion of on/off states of a white lamp shade.
The artistic development of Radovic, who was born in Serbia-Montenegro, Europe, was influenced by 3 major factors: 1) the classic and modern European tradition that she grew up in; 2) Egyptian and late-Greco-Roman art that she became closely involved with during the 8 years she spent in Cairo, Egypt; and 3) the national catastrophe and decade-long civil war in former Yugoslavia which seems to define the themes of her art. Her response to the far-reaching devastation of her country was the creation of timeless shelters (intimacy, family, love, friendship and home.) from the worldly evils.
Old friends and new: log cabins, windows, squares and grids, and simple transformations–all in the key of blue, from turquoise to indigo.
These twenty-five highly expressionistic oil paintings of portraits and nudes are emotionally intense with an exceptionally wide range of texture, color, and feeling. They vary from near-realistic to fantastical and are reminiscent of the works of Edvard Munch, Alice Neal and Francesco Clemente in tone and feeling. These works engage the viewer, inviting and repelling, and inviting back in. They are edgy, raw and primitive, yet lyrical, mysterious and beautiful. Evocative or contradictory pairings like unbridled passion and entrapment (in “No Exit”) or sadness and ghostly beauty (in “Levitating Fawn”) are typical.
Reducing to the essentials was my main concern this time. In short, my whole creative process was scraping, shaving and squeezing in order to reach the vital essence. Any extras were removed from my canvas. Also, I feel I’ve reached the point in my life when I can do a bit of reflection on myself, casting eyes to the future potentials. I realize too much scrubbing and scraping would not do any good, because the canvas would be wavering like a little boat lost in the vast ocean. Suddenly I realized some amazingly fascinating shapes would appear, when I hold the canvas from behind. I try to scrub the surface. Now I see the real surface, the lines and shapes would start dancing happily. I try and try again, harder and harder, my hands keep on scrubbing, until I lost the sense of time completely. Finally, all the colors have vanished; there is nothing left but “black and white.”
The show will feature paintings investigating the image and symbolism of the hand in its many gestures and roles, most especially as it is used in cultures to express healing. The concept of “Tikkun Olam” (Hebrew for ‘heal the world’) is expressed in these works, which are intended as prayers for peace, and is based on the artist’s Jewish heritage. Shadur’s vivid mixed media works in watercolor, acrylic and colored pencil are narrative in nature, creating connections through symbols and sometimes jarring combinations of images. In “Tikkun Olam,” Shadur looks at conflict through a feminist lens, in the feminist tradition of collaboration, and weaving together meanings with a feminine eye. Shadur will also present an artist’s talk at the gallery on Wednesday, December 8th, at 6 pm.
Sward is known for founding the Book and Paper Art Center of Columbia College. Her site specific installations and works on paper have appeared in exhibitions around the world. This show will feature works concerning her passion for trees as animate and inanimate objects. You too may participate at her web site: treewhispers.com.