Posts tagged Light
Realistic Paintings Utilizing Projection by Hali Pollard

Hali Pollard is a recent graduate from Stetson University with her Bachelor's of Art in Studio Art and Communication and Media Studies. Her work has been exhibited in Stetson's 28th and 29th Annual Juried Undergraduate Art Show in 2017 and 2018, where she won the Friends of Art Purchase Award. 


Hali presented her Senior Studio Art Thesis Exhibition, Layers, at Stetson University's Student Showcase, where she was awarded the Maris Award Runner-Up. Her piece "Here's a sign," from her exhibition won the Ann Hall Award and now belongs to Stetson University's permanent collection. There are currently two pieces of Hali's that now belong to the permanent collection.


Her work aims to elevate the darker side of romantic relationships and associated feelings using projections of light, color, and text. She utilizes the element of projection and dramatic lighting to create layers of meaning on her subjects. Using realistic methods of painting, Hali creates loosely written narratives that come across as familiar but undoubtedly leave questions unanswered.

Beautiful Paintings Inspired by Nature, Australian Artist Jessie Pitt

Jessie is an Australian artist who is based in Austria. She is deeply inspired by the natural world, with a focus on mountain landscapes and nature. The constantly changing light, moods, seasons in the mountains offer a constant stream of inspiration. Jessie feels strongly connected to the mountainous landscape and her artworks are influenced by what she sees in connection to what she feels. A painter of light and shadow, she conveys an impression or a mood, bringing an impression of the true soul of the mountains to everyone. Time is symbolized in her current works in the form of birds.

Her current works are painted/drawn on un-stretched canvas predominantly, that she deliberately crumples to add texture, which is an important part of the finished artwork. Giving them a natural and free look without constraints. Using various mediums such as graphite, charcoal, ink, and acrylic combining both painting and drawing techniques to build up the artworks in layers, trying to achieve a sense of depth and translucency in her artworks.

Anna Teiche

Working in large-scale oil painting, Anna Teiche’s work centers around explorations of human and cultural relationships through use of vivid color, light, and pattern. A graduate of the BFA Art & Design program at California Polytechnic State University in San Luis Obispo, Teiche has recently relocated to Seattle, Washington, her hometown. Growing up in the Pacific Northwest, Teiche was always fascinated by color and pattern, especially influenced by her grandmother’s stories of her Scandinavian heritage, and the many Renaissance and Medieval paintings she saw at the Seattle Art Museum as a child. Recently, Teiche completed a public wall-hanging sculpture commission for Cal Poly, which is now on display as part of the permanent collection.

Using bright patterns and vintage fabrics Anna Teiche creates large scale oil paintings and fiber sculptures that feel inviting and friendly at a glance, but allow for more ambiguous, uncomfortable revelations upon further investigation. Through color, pattern, and light Teiche analyzes how bodies interact with each other and the spaces they inhabit, creating narratives that reveal how body language can suggest the underlying psychology of a scene. The work fluctuates between abstraction and figuration, forcing the viewer to find a coherent image in the saturated combinations of fabrics. Using combinations of plaids, stripes, and vintage floral prints, patterns are combined based on color relationships, creating environments that feel pulsating with warm light and pattern, pushing the compositions more towards abstract fragments than real spaces. Referencing the figurative poses found in Medieval and Renaissance painting, Teiche intertwines fabric, color, and seemingly severed limbs to create compositions that are reminiscent of historical paintings, but quickly disintegrate into chaotic scenes of fragmented bodies and dislocated pieces.

Synnöve Seidman

"I was born in Toronto, Canada, a first generation Canadian of Finnish descent. Fortunately I was raised in an artistic and unconventional family. I moved between the city and rural countryside throughout my childhood. After attending a fine arts high school I studied art history and philosophy at the University of Toronto. Afterwards I travelled to Florence Italy to continue studying Italian and art. 

I am fascinated by the restorative power of beauty and it's balm on the anxiety of modern life.  My current work is asking the question, does the natural world embody beautiful ideas? I am exploring shapes and light and their relationship with transition and memory.  Abstract landscapes, city structures and botanical elements find their way into many of my compositions.

I am inspired by nature, it is my cathedral."

Experiencing Light: Interview With Alison Kudlow

Alison Kudlow lives and works in Brooklyn. She has BA from the University of Southern California, a post-baccalaureate degree from Brandeis University and is currently an MFA candidate (2019) at School of the Art Institute of Chicago. She has shown her work in group and solo shows in New York, Los Angeles, and Istanbul.

Alison Kudlow translates ephemeral sun events into physical forms, experimenting with how materiality impacts our experience of light. In her studio, she arranges liquid-filled vessels in front of a west-facing window to refract sunlight, and then creates a series of sculptures, drawings, photographs, and cyanotypes of the resulting refracted sunlight (Sun Interpretations). About two hours before the sun sets, the light passes through the vessels of liquid at an angle such that the spectrum of its light is pulled apart and reassembled. As the sunlight lands on the table surface it is reduced to a colorful two-dimensional projection. While the Sun Interpretation sculptures transform the light back into three dimensions, they are a representation of the projection, not the light itself, and are therefore a further distortion. Moreover, the sculptures transform fleeting and ethereal light events into lasting and tangible objects. Using a variety of materials, Kudlow has developed an intuitive visual language to create a series of sculptures that often reject objecthood—sheer lightweight silk sways as the viewer approaches and disrupts the surrounding air, intricate glass webs veer in and out of invisibility, texturally rich surfaces beg for a closer look but remain mysterious upon inspection. The sculptures then function not as representations of light, but as stand-ins for light that evoke their own sense of wonder.

Her process is an enactment of a ritualistic proto-scientific studio practice of sun worship. Invested in the feminist history of pagan worship, Kudlow emphasizes the female form in her photographic renderings of sunlight. While in Western cultures the sun is generally seen as masculine (as opposed to the feminine moon), historically the sun’s perceived gender has changed to suit the needs of the culture interpreting it. For instance, a nomadic culture that relies heavily on hunting for food will generally describe the sun as male; but as that same culture develops agriculture and settles in one place, they will begin to describe a nurturing female sun. The fluidity of the sun’s gender, and of gender in general, can be seen in Kudlow’s aluminum dye sublimation prints. The spectral forms and slivers of variegated color on the metal surface suggest a chemical process as their origin. The bilaterally symmetrical compositions alternatively suggest a womb, a tunnel, a protrusion, a shaft. When the images are inverted (converted to a negative), they do not become opposites but rather similarly ambiguous apparitions. The works question traditional notions of “natural” and its associated binaries and hierarchies.

Kudlow investigates the sun because of its singular universality. She feels that a common visual language, one that articulates the few universal truths, can be arrived at via the sun. As Harold Hay, a pioneer in solar energy states, “Once we begin to go back to a closer understanding of nature and man’s relationship to the Sun, we’re going to start developing whole new concepts of who and what we are, and why, and what our rightful place in the universe really is.”


When did you first develop an interest in sculpture?

That's a great question because I actually came to sculpture late in my art-making trajectory. I made paintings for many years, but then was invited into a few group shows in some unusual domestic settings--a refrigerator, a swimming pool, a cellar--where it made no sense to show paintings. And so instead I created installations in those spaces that looked a bit like the paintings I'd been making and explored the same ideas. I had so much fun making those pieces and felt so energized by what I could make outside the confines of a canvas that I basically never went back. Now working in three dimensions feels very much like home to me, and is integral to the ideas I'm investigating.


Your works have a beautifully meditative feel to them. In your statement, you mention an interest in sun worship. How important is spirituality in your process?

I grew up in an atheist home in the Bible Belt. So I was surrounded be deeply religious people, but was always an outsider looking in. I could see that for some people religion brought them peace and clarity in an otherwise distressingly chaotic world. I yearned for a way to make sense of the world, but couldn't buy into any religion. While my father and my brother dedicated their lives to science, I found even that reasonable and fact-based inquiry made for a shaky foundation. In a way my art practice is my way of making sense of life. And my current practice in particular, which involves a ritualistic process of observing refracting sunlight, makes me feel deeply connected to greater forces, to the cosmos, and to the history of solar study and myth.


What would you say your work is about?

My work is about materializing light. It's a sort of utopian idea, to take something ephemeral and fleeting and make it concrete and lasting, but that's the point. What happens to light that is made solid--what qualities remain and what is gone? I've also been exploring the gender of sunlight, its fluidity and expansiveness. 


What do you hope the viewer learns or experiences by looking at your sculptures?

I hope my work pushes people to question binaries, to ask themselves how sure they are of what they know, and to feel a sense of great appreciation for their place within an infinitely complex world. Sometimes when people are visiting my studio, particularly if its at night, I ask them to imagine a world without sunlight and that my work is an ode to sunlight remembered. Would interacting with these pieces feel at all like sunlight on your skin?


Do the materials you choose have a significance to the overall meaning of your art?

Of course. Considering the universality of the sun as both our literal source of life and as mythic symbol, I like to consider myself in conversation with all people before and after me who have wondered at it. I like to blend natural substances (sand, silk, glass) with modern fabrication materials (resins, enamels) to create a sort of anthropocenic blend that is not easily read as coming from a specific era. 


What is a typical day like do you? How do you find balance and prevent artistic burnout?

I usually have multiple projects going on at the studio at once so when I show up I never know exactly what I'll be working on that day. I rotate around the room, working on different pieces. Practically, that means I'm never doing nothing while I wait for something to dry, but it also prevents me from burning out on one particular way of working.

What are you currently working on and what should we be on the lookout for?

Is it weird to tell you that I think I'm working on the best thing I've ever made? hahaha . . . I guess as artists we're always most excited about whatever we're making now, but I've been working on a complicated sculpture for about three months and I'm genuinely so excited to see it finished!!!

Patricia Castillo-Bellido

My artwork led me to discover numerous forms of translucence, which involves the fragmentary decomposition of light – cold colors, reflected while warm ones pass through the translucent environment. The effect resulting from the passage of light through translucent environments result in opalescence. Currently, there is a wide range of translucent colors, conventional or unusual, that I enjoy painting and feel the silence and music of light and colors. Canvas and acrylic colors can be set to have translucent properties in the production process; by overlapping several transparent veil colors, I generate various degrees of translucence.

Translucent paintings set and maintain enchanting, meditative ambiances, which leave their impression upon one’s senses and spirit. Veil over veil is the way mind and spirit function in each of us, which is why veiled colors unite and connect everything in the Universe. The veil creates the illusion of physical separation, but we can reach an ever more expanded experience of ourselves and all existence if we feel those colors over colors, in the same way I represent them in my abstract paintings.

Our lives can actually be a great game for exploring consciousness for those who see the veil colors of our lives for what they are and understand that even as we are physically separate here, spiritually we are all intimately interconnected in this divine cosmic colorful dance.

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Jessica Dolence

Jessica Dolence is a Seattle based artist and designer. She received her MFA from Cranbrook Academy of Art and a BFA in Intermedia at The Herberger Institute of Design and the Arts at Arizona State University. Prior to graduate school at Cranbrook Academy of Art Jessica was a member of SOIL Gallery, an artist run space in Pioneer Square, and is currently a freelance Visual Designer. Recent exhibitions include a solo show titled The Blue Room at Interstitial Gallery, Electric Objects and Edith’s Garden; a commissioned collection of narrative video works, and is in the group show Digital Bodies at CICA Museum in Korea Summer 2017.


I’m interested in digital decoration and ornamentation in relationship to CyberFeminism and virtual interior design. I design animated wallpaper that is ambient, and subversive. The wall, screen, and monitor are all habitats for my work. When projected and mapped onto a wall, the wallpaper alters space and the background becomes the subject. I’m influenced by 20th Century historic cultural trends, period film sets, and Internet sub genres like Sea Punk. Coloration and pattern design are used to talk about the spectrum of femininity.

I use 3D modeling software and After Effects to build sets and decorative architectural models to create imagery. A 3D environment, once built, provides the ability to rapidly modify materials and lifts the restrictions of reality. Time based media allows my work to live and breath. My newest body of work will continue to cross-pollinate material and concept, using projection mapping, surface design and 3D printed objects to further blur relationships between art and technology.

Kathleen Spicer

I build things.

I make sculpture that is painted. The work is abstract with reference to nature. It is a combination of many parts that come together in one image. My sculptures are organic, mathematical, animated, sensual, analytic – and have a bit of humor. Over many years I have developed work which bridges the gap between painting and object, and therefore defies category.

These recent sculptures flow like drawings in space. They are made of oil paint on wood. They are wall hung, free form, and usually about six inches deep. My sculptures are intentionally fluid and lively. I try to make them dance. There is a charge of energy in each piece – an organic sense that is usually found in living things. Shapes pass through each other and are inter-woven, activating each other. There is no starting point or ending point. Positive and negative spaces are equally important.

Color is key in every sculpture. I use thin layers over each other creating light from beneath the surface. The edges are often painted solidly to re-define the form. Each final piece has a sense of energy that comes from inside the structure and breathes outwardly.

Creating work with a sense of positive energy is my commitment. The work should not sit still but should activate the space it occupies.

Garry D Harley

This series of digital paintings was created using adjacent values, selective areas of colors and lines to create a visual illusion of surface, light, form, space, movement and depth. Each final digital painting is issued as an original (only one).

The tools used in this work were digital, and the printing method is digital printing using the metal sublimation process.

This series is titled FLUIDIZATION….the images are inspired by a process called fluidization which refers to a process where a static, solid-like state changes to a dynamic fluid-like state.

Graham Wallas (The Art of Thought) suggests that the creation process includes… preparation, incubation, inspiration, and elaboration. Of these, my work has also been inspired by the works of Josef Albers, Anuszkiewicz, Birren and others and rests on the foundation set forth in The Principals of Harmony and Contrast of Colors and Their Application to the Arts (1855), by Michel E. Chevreul and Charles Martel.

This original work is my personal version of beauty and perfection – this work is from my experience, capability, efforts, and soul. The viewer must bring his or her emotions to make the final connection and find meaning.

Alan Singer

Alan Singer is an artist, writer, and professor at the School of Art at Rochester Institute of Technology in Rochester, NY.

Both of my parents were working artists, and I learned the most from watching them create. Along with painting and printmaking, watercolor is one of my favorite mediums, and I now teach digital art at R.I.T.. My art has been featured in exhibitions at The Smithsonian in Washington D.C., The Norman Rockwell Museum in Stockbridge, MA, and the Everson Museum of Art in Syracuse, NY with numerous solo and group shows in galleries primarily in the east.


The artwork I have submitted here for Create Magazine is a blend of art and mathematics. I use programs to help me visualize data, and then I make these transfer monoprints on moist paper that is passed through my etching press to make a good impression.

All images courtesy of Alan Singer