Linda Carmel is a painter who creates richly textured canvases that focus on the experience of women today. She writes, “The paintings in Go Figure! explore the transition from girlhood to womanhood where outer appearance becomes circumscribed and the carefree girl is hidden.”
In this series she has used the hooped skirt as a metaphor for how women worked within these confines to find autonomy. She explains, “When girls enter womanhood, both historically and culturally, there are often confining restrictions of dress and behavior that apply. In times and places where women were unable to voice their opinions, they embroidered their thoughts onto household fabrics and clothing. I have incorporated these unspoken words into many of my new paintings.”
Carmel adds, “Women’s fashion has come a long way from the era of the hoop skirt, but women are still forced to dress the part and hide elements of themselves in order to shatter the remains of the glass ceiling.”
Lynn Wartski’s imaginative sculptures portray the human body as art dolls. Wartski states, “This medium allows me to explore and play with a wide variety of materials and techniques yet still maintain visual cohesion. Inspiration for these small scale figures comes from places both common and unexpected. I delve into the worlds of art, literature, mythology, legend, everyday life.” Lynn uses a variety of materials in her mixed media dolls, but it is her use of metal that links these dolls to her earlier work.
Wartski adds, “For Go Figure!, I have continued to concentrate on gesture and expression. Though there is no one theme that unifies all my sculptures, there is the intent for each to represent a moment within some narrative. My hope is that the viewer will be drawn into the small details of each doll and hopefully enter into the story she may have to tell.”
Marcy Lansman writes of her new work for Go Figure!: “Many of these paintings express my nostalgia for a kind of childhood play that seems rare today, nostalgia for a time when children ran around outdoors uncoached and unscheduled. I’m intrigued by the excitement and collaboration that emerges from that kind of spontaneity. Several paintings are based on fifty-year old photos of my sons. I’ve solicited candid photos from friends and family, but often what I get back are smiling faces looking straight into the camera. So for new subject matter, I’ve taken to photographing children in local public playgrounds.”
Friday, September 30
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