Deborah Bigeleisen
Artist Statement
Having started my career by painting Rembrandt-like portraits of luminous white roses, I credit my discovery of fractals for transforming my artistic vision, and changing the direction and force of my work. Always working with a single image of a flower, or a component thereof, I have stripped away the mask of the exterior form and magnified the interior thousands of times to depths beyond what is visible to the naked eye. My subject is no longer simply a flower; it is a dynamical system existing in a chaotic universe filled with energy, turbulence, mystery and beauty. Additionally, I have discovered that the system repeats itself through multiple phenomena.This is where I have taken the literal definition of fractals, and put my creative voice to the principles. Though the non-representational work may suggest a natural likeness-a wing, a wave, a shell, or even a human form -my vision invites a fresh dialogue between aesthetics and science.
Whether creating evocative representational images or boldly deceptive non-objective work, my focus is always on the choreography of the movement, the organization of the space, the subtlety in the tonal transitions, and the intricacy of the brushwork.Working in oils or acrylics, and using mediums at different viscosities, my technique is rooted in the labor intensive practices of the Dutch master painters. I apply upwards of 20layered transparencies to create richly saturated darks and vibrant luminous highlights that dance off the surface of the canvas. Working with a palette of up to 8 colors, I constantly contrast warm hues against cool hues to play with the reflective light, and to seduce the viewer into the myriad of complexities.
I do not subscribe to rules. Though I have a general vision at the onset of a new painting, I have had so many serendipitous discoveries during the painting process that have often taken the finished work somewhere that I never foresaw initially. Every painting is a fresh beginning and a new journey; and I cherish the unpredictability. Just as my senses are challenged with every new painting, I want to stimulate the viewer's imagination and emotions. Because color is so subjective, I have chosen to paint many of the non-objective works in neutral analogous tones to provoke a discourse with the viewer.
Though my representational work is often referenced alongside Georgia O'Keeffe, the similarity starts and ends with the fact that we are both identified with painting flowers. My work probes the bridge between beauty and science, order and chaos. As one art journalist said:"It brings a unique vision to the genre of floral painting to embody a contemporary world." A world where change occurs at lightning speed, where one rarely looks beneath the surface, where the meaning of beauty is continually being redefined, and where chaos is the order of the day -nevermore true than in this Covid-19 world where we now find ourselves.
My latest series, Kaleidoscope, reflects the current chapter of my life. As the term suggests -"a constantly changing series of objects or elements."Now single after a 35 year marriage, my world if filled with new experiences, new emotions, and new horizons. I'm having fun with the work, painting without restraint; I am exploring different mediums to create new effects. My paintings are much freer and more spontaneous. I still implement the many transparent layers that have always identified my work, that technique is in my soul; however, I am using bigger brushes, bolder brush strokes, and broader washes of overlapping colors. There is a breath of fresh air my new work, which reflects how I feel about my life and my outlook on the future. I am a work in progress, and excited about what's next!
Having started my career by painting Rembrandt-like portraits of luminous white roses, I credit my discovery of fractals for transforming my artistic vision, and changing the direction and force of my work. Always working with a single image of a flower, or a component thereof, I have stripped away the mask of the exterior form and magnified the interior thousands of times to depths beyond what is visible to the naked eye. My subject is no longer simply a flower; it is a dynamical system existing in a chaotic universe filled with energy, turbulence, mystery and beauty. Additionally, I have discovered that the system repeats itself through multiple phenomena.This is where I have taken the literal definition of fractals, and put my creative voice to the principles. Though the non-representational work may suggest a natural likeness-a wing, a wave, a shell, or even a human form -my vision invites a fresh dialogue between aesthetics and science.
Whether creating evocative representational images or boldly deceptive non-objective work, my focus is always on the choreography of the movement, the organization of the space, the subtlety in the tonal transitions, and the intricacy of the brushwork.Working in oils or acrylics, and using mediums at different viscosities, my technique is rooted in the labor intensive practices of the Dutch master painters. I apply upwards of 20layered transparencies to create richly saturated darks and vibrant luminous highlights that dance off the surface of the canvas. Working with a palette of up to 8 colors, I constantly contrast warm hues against cool hues to play with the reflective light, and to seduce the viewer into the myriad of complexities.
I do not subscribe to rules. Though I have a general vision at the onset of a new painting, I have had so many serendipitous discoveries during the painting process that have often taken the finished work somewhere that I never foresaw initially. Every painting is a fresh beginning and a new journey; and I cherish the unpredictability. Just as my senses are challenged with every new painting, I want to stimulate the viewer's imagination and emotions. Because color is so subjective, I have chosen to paint many of the non-objective works in neutral analogous tones to provoke a discourse with the viewer.
Though my representational work is often referenced alongside Georgia O'Keeffe, the similarity starts and ends with the fact that we are both identified with painting flowers. My work probes the bridge between beauty and science, order and chaos. As one art journalist said:"It brings a unique vision to the genre of floral painting to embody a contemporary world." A world where change occurs at lightning speed, where one rarely looks beneath the surface, where the meaning of beauty is continually being redefined, and where chaos is the order of the day -nevermore true than in this Covid-19 world where we now find ourselves.
My latest series, Kaleidoscope, reflects the current chapter of my life. As the term suggests -"a constantly changing series of objects or elements."Now single after a 35 year marriage, my world if filled with new experiences, new emotions, and new horizons. I'm having fun with the work, painting without restraint; I am exploring different mediums to create new effects. My paintings are much freer and more spontaneous. I still implement the many transparent layers that have always identified my work, that technique is in my soul; however, I am using bigger brushes, bolder brush strokes, and broader washes of overlapping colors. There is a breath of fresh air my new work, which reflects how I feel about my life and my outlook on the future. I am a work in progress, and excited about what's next!
Project Year: 2022
