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Timothy Cobb Fine Arts’current exhibition (on display through Sept. 6) features the work of painterPatricia Frederick and sculptor Susan Falkman. Although their media could notbe more different in character, the two bodies of work fit together like handin glove, both celebrating the transcendent beauty of nature and the humanexperience through abstract line and form.
Frederick’s artiststatement speaks to her interest in the “space where thought seems to disappearand the mind gets out of its own way.” Her technique—many thin washes of oilpaint and turpentine with a complete absence of brushwork—aptly mirrors thisdesire to get out of her own way and open to meditative practice and “angelicand spirit animal influences.” She states that, on an intellectual level, herworks also explores “our last frontier,” striving to “get inside consciousnessitself.”
Rabbit’s Tale is an hypnotic work in blues and grays, full of vein-like splatterand drip patterns and evocative of the glimpse one might catch of a rabbitdisappearing down its hole. The title with its double meaning appropriatelypoints to both the visible subject and the active narrative (the tale) of what is going on.
In The Beginning also employs arresting drip forms and deeply contrasting hues toevoke the Genesis narrative. The artist’s use of light and shadow isparticularly effective here in suggesting the tangle of water, sky and light asyet undifferentiated in the pre-Creation moments.
Falkman’s work inlimestone and marble likewise often treats on spiritual themes and carries atherapeutic purpose; her artistic statement asserts, “Each of our individual‘healings’ weaves into a ‘healing net.’ The more threads woven, the moresupport for us all. My carving is my weaving.” In her tabletop Carrara marbleworks, Daphne Unfolding and Daphne Emerging, we find a female formswelling forward out of amorphous entrapment, progressively full and definedfrom one work to the next.
The Robe,a life-sized work in Indiana limestone, is a ghostly rendering of a garmentdevoid of wearer but still shaped as if it flows over a human form. Theartist’s many years studying Classical carving technique in Greece and Italy isapparent in her acute understanding of flowing cloth forms. The delicatewrinkles carved into the inside of the robe make this piece—like all herworks—multi-dimensional in the truest sense and fascinating to observe from allangles.
Sensual and endlesslyprovocative, these two artists’ works, perfectly paired in Timothy Cobb’smeditative gallery space, are sure to sooth, delight and inspire.
Visit Timothy Cobb Fine Arts Tuesday, Wednesday, Friday and Saturday from 11 a.m. to 4 p.m. or byappointment. The gallery is located in the Marshall Building’s lobby, 207 E.Buffalo St.
Frederick’s artiststatement speaks to her interest in the “space where thought seems to disappearand the mind gets out of its own way.” Her technique—many thin washes of oilpaint and turpentine with a complete absence of brushwork—aptly mirrors thisdesire to get out of her own way and open to meditative practice and “angelicand spirit animal influences.” She states that, on an intellectual level, herworks also explores “our last frontier,” striving to “get inside consciousnessitself.”
Rabbit’s Tale is an hypnotic work in blues and grays, full of vein-like splatterand drip patterns and evocative of the glimpse one might catch of a rabbitdisappearing down its hole. The title with its double meaning appropriatelypoints to both the visible subject and the active narrative (the tale) of what is going on.
In The Beginning also employs arresting drip forms and deeply contrasting hues toevoke the Genesis narrative. The artist’s use of light and shadow isparticularly effective here in suggesting the tangle of water, sky and light asyet undifferentiated in the pre-Creation moments.
Falkman’s work inlimestone and marble likewise often treats on spiritual themes and carries atherapeutic purpose; her artistic statement asserts, “Each of our individual‘healings’ weaves into a ‘healing net.’ The more threads woven, the moresupport for us all. My carving is my weaving.” In her tabletop Carrara marbleworks, Daphne Unfolding and Daphne Emerging, we find a female formswelling forward out of amorphous entrapment, progressively full and definedfrom one work to the next.
The Robe,a life-sized work in Indiana limestone, is a ghostly rendering of a garmentdevoid of wearer but still shaped as if it flows over a human form. Theartist’s many years studying Classical carving technique in Greece and Italy isapparent in her acute understanding of flowing cloth forms. The delicatewrinkles carved into the inside of the robe make this piece—like all herworks—multi-dimensional in the truest sense and fascinating to observe from allangles.
Sensual and endlesslyprovocative, these two artists’ works, perfectly paired in Timothy Cobb’smeditative gallery space, are sure to sooth, delight and inspire.
Visit Timothy Cobb Fine Arts Tuesday, Wednesday, Friday and Saturday from 11 a.m. to 4 p.m. or byappointment. The gallery is located in the Marshall Building’s lobby, 207 E.Buffalo St.
