mary rountree moore
language of light
derived from nature’s innate abstractions, allowing the mind’s eye to gather it’s own interpretations. it is the memory of those undeniable visual experiences that gives me inspiration. balance in the natural order is strongly apparent in my serene landscapes.
-mary rountree moore 2017
outside the lines
for abstract artist kiki slaughter, her method is often her muse. her paintings are best described as an experiment with the fundamental process of painting. she pours, scrapes, layers and otherwise manipulates paint on the canvas to create works that are rich in both color and texture. she is inspired to paint by the very act of painting.
kiki is also inspired by her visual surroundings. thus, her work often evokes the places she has lived and visited. she strives to interpret and record her impressions of the world around her through her use of color and texture. although her works are entirely abstract, each piece maintains subtle characteristics from its source of inspiration.
kiki slaughter is from charlottesville, va and currently lives and works in atlanta, ga.
i approach flower painting similarly to portrait painting, which i have done my whole life. each flower portrait takes on a particular character. peonies in particular lend themselves wonderfully to a range of emotions, personalities, and change in character dramatically from hour to hour; balled up, “heady” (literally and metaphorically) in their early stages, open, complex, wild in their later stages. each stage presents its own challenges. light is aways the organizer. i turn out all the lights and use one spotlight, almost like providing sunshine at night. such lighting helps me to understand the structure of the complex forms by simplifying it into shapes of dark and light. it also helps create a particular mood, suggesting “who” this flower is. this past year many of the peony paintings are 2 headed, couples, perhaps even twins- which wouldn’t surprise me considering I have a twin sister. it is always interesting to recognize how one’s relationships to people and to the world plays itself out through the process of painting - even when the subject matter is (or rather -seems to be) still life.
-katy schneider 2017
may 5-june 24, 2017