Four Art Professors from NIU:
Y. Kuo, A. Nason, C. Rollman, H. Wirth
On Display: September 17, 2013 –November 12, 2013
Artist Reception – September 20, 5-7pm 5-7pm 5-7pm
My sculptural work has evolved out of the traditional concept of the vessel, but my interest is not making functional pots. I retain the understanding of a vase as a space container. However, my fascination lies in using the Inside/Outside space as a format for expression.
In my work, the only passage between the inside and outside is the small window-like opening; like a peep-hole window of a medieval castle, it suggests withdrawnness. This window also gives an indication of how large my "building" is. If you look for a door to get into the space, you will find no entrance. The building is encapsulated; it is a space-trap, a great cavern with all its potential for expressing apartness, mystery and entombment. It serves as a metaphor for a tomb, retreat, or the womb, providing a symbolic dwelling for the human spirit.
In order to create more depth of visual space on the surface, I apply different colors and thickness of glazes on my piece. The glaze melts and moves spontaneously during the firing due to heat and gravity. Through this process, I can create a surface similar in feeling to abstract landscape painting, showing a dreamlike illusion and the great force of nature.
To see more of Yih-Wen's artwork
Nason's work depicts the real, the unreal, the tangible, and the intangible to formulate landscapes serving as metaphors for an ever-changing world in which environment and place is defined by ambivalence, temporal existence, and looming disaster. Notions of physical and psychological remoteness, isolation, and pursuit of the ideal exist in the quasi living spaces and encampments that encompass transitory and residual human constructs.
Nason is currently an Associate Professor of Printmaking at Northern Illinois University in Dekalb, Illinois. Her work has been exhibited in over fifty juried and invitational, national and international exhibitions. Her work is published in "A Survey of Contemporary Printmaking" edited by Matthew Egan, Michael Ehlbeck, and Heather Muise. Nason was recently awarded and attended two artist residencies at the Anderson Ranch in Snowmass, Colorado and Kala Art Institute in Berkeley, California.
To see more of Ashley Nason's artwork
Has there ever been an artist more enthusiastic about painting outdoors, directly observing her subjects? Rollman enjoys meandering through her neighborhood, to discover a garden or street-view composition that inspires her paint. She also travels to the northern Illinois prairies and woods that offer a seasonal abundance of changing colors and shapes. Rollman's watercolors, whether bursting with color or subdued in palette, capture the immediacy that exists with the changing light and weather conditions. Her mark making is a meaningful abstracted suggestion of what she is translating in her visual field. She has stated that she needs to look closer, to listen and to slow down in order not to miss anything. Painting for her is living in harmony and she rarely considers herself the director. Nature reveals to her what to do. Currently a professor at Northern Illinois University, Rollman has been active exhibiting her work locally and in Chicago. She participated in a juried group exhibition at the Bowery Gallery in New York City and was later invited back to do a solo exhibition. She has shown her work in Taiwan and most recently in Costa Rica. Her work is held in public and private collections.
To see more of Charlotte Rollman's artwork
The paintings are visuals of my fascination with the dynamics of the natural landscape. The spaces implied on the paper are imaginary glimpses of time and space and do not necessarily represent an actual spot in any particular place.
The simple line of the horizon continues to stir my imagination and is evident in many of the works. To me, the horizon is ever-present as a reminder of where we are on earth. Where sky meets earth is a delicate and mysterious zone. At times the boundary is cold and hard and other times one blends into the other with no real demarcation or boundary. The intent is to create a space of depth, dimension, and intellectual awareness.
The view of the landscape can be obstructed by other natural features or man-made structures that tend to 'frame', distort, or obstruct the view. These paintings I call, 'windows'. The 'negative' areas on the paper or white space takes on an equal importance to the actual object of the painted areas.
My preferred media are watercolors on heavy paper, or acrylic on plywood or panels. The watercolor and wet paper allows me to capture a moment in time with spontaneity and energy. Quick gestural strokes from the brush capture a fleeting moment of the atmosphere as well as the wind and the ever-changing light.
My material is the memory of an experience on the landscape. I take these memories into the studio and create my special views which I call "Imaginary Spaces".
To see more of Harry Wirth's artwork
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