September 22 – October 30, 2020 at Saratoga Arts
My ”Forest“ series is comprised of tree-like forms enclosed in, imposed on or breaking free of vessels or walls. I am interested in the formal properties of gesture and spatial relationships in the complexity and randomness of nature.
For almost fifty years, I have been making functional pottery and have been concerned with the usefulness of forms. While I often continue to reference the vessel, my current work relates to the interplay of the inside and the outside of forms and the mystery of containment. While the surfaces of my earlier work were dependable electric-fired glazes, my current work, utilizing wood-fired surfaces, is full of surprises in color and texture, adding to the mystery. Because there have been fewer opportunities for group firings in the last six months, I have been experimenting with cold surfaces (paint).
I create imaginary landscapes inspired by my interaction with real physical space. This body of work originates out of an exploration of material. Paint contains a vast amount of potential and unpredictability. I enjoy working in a space between control and freedom. Responding to material holds the possibility to investigate the physical world. Brush marks, drips and splatters become a documentation of my existence and engagement in the world. I am interested in the phenomenological concept of “readiness to hand”, the belief that we learn from the body, that knowledge exists before conceptualizations. The act of making, doing and experiencing is what gives us information about our surroundings. My work references our reaction and response to the physical world. I am creating an experience of space that situates meaning in a place where it is gradually revealed, but never fully understood. I overlap layers of transparent paint creating spaces full of movement and experience, one that extends beyond the edges of the paper. Large gestural marks incorporate the movement of my body. These large marks compliment areas of intricate detail, spaces where micro and macro perspectives are referenced. Pairing these contrasting marks allows my work to oscillate between the intimate and the immeasurable.
I paint to capture the texture and color of the influences in my life and to tell a story. Multiple layers of color, some exposed, some hidden, change their mood like the weather allowing the depth of the story to be experienced. It is the energy and emotion of the finished piece that transmits the story to others.
I see woven color in the landscape. – Terry Teitelbaum
Teitelbaum’s daring use of color combinations was honed during her years as a fashion designer in the sixties. Her current artistic expression is a convergence of fashion design and textiles with her painting medium: there are striking similarities between the sheer fabrics from her past and the transparent pigment she uses in her paintings. Iridescent fabric to interference color. The artist simply traded one art form for another.
*Images are presented in the order that they are laid out on display in the gallery