MAY 23 - JULY 11
Woranora, 48 x 48 inches, Oil on Canvas, 2015
SATURDAY, MAY 23
7 - 11 PM
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CAROL SEARS MAKES HER OWN
INDELIBLE MARK BY PUSHING
In her most recent series of large-scale paintings, Recent Linescapes, Carol Sears builds upon her unique approach to composition. After a career in figures, she pushes deeper into the territory of line-and color abstraction in which she has quickly made her own indelible mark.
Her paintings initially unfurl like surrealist automatic drawings, in which rich, complex networks of fractal lines are laid down in a fluid, stream-of-consciousness process guided by instinct rather than intention. The shapes achieved in this way vary unpredictably from the large and sweeping, to the infinitesimal and merely suggested, forming dense pockets and unresolved passages of emptiness. Her colors -- a rich and eerie, yet subdued and breezy palette -- are filled in subsequently, according to the suggestions offered by the shape of the lines. Her palette favors an unconventional tertiary family of green-gold, dusty lavender, mustard yellow, hazy blue, and bruised peach, which is compelling for its eccentricity and mystery.
The results are both frenetic and lyrical, with an unexpected harmony arising from the cultivated chaos of their making. At times the suggestion of a horizon line, or a rugged coast, or a face in the clouds threatens to present itself. But as for actual references to landscapes and figures, Sears is adamant that, "It's not in there, not any more. The human brain seeks patterns, it cannot be helped. Let people see whatever they want. It's fine with me!"
ABOUT CAROL SEARS
Painter Carol Sears has lately enacted a dramatic change in her style that sees her doing the freshest and most exciting work of her career. In her previous incarnation as a figure painter with an operatic, symbol-rich sensibility, she was already deploying saturated abstract color-blocking and pulled-apart patterns in the service of evocative, character-driven narrative images. Sears retains a sort of sense memory for the depiction of forms and the articulation of landscapes and architectural spaces in her current period of nonrepresentational work. Those organizational impulses inherent in the kaleidoscopic energy fields of her canvases, which she mastered during her time as a figure painter, are now sensed rather than seen.