Peeling back the layers
STRATA Artists reveal the appeal in the layers
STRATA artists explore the idea of layering through their use of materials, but also through the depth of meaning, complexity, and symbolism in their work.
I recently asked the Strata artists to elucidate about the appeal of layering in their work. Their responses follow.
STRATA Artist, Day Moore
"The exhibition theme grabbed me immediately. In so many different aspects layering comes in to play in my art.
It is something that I’m ruminating on as I am filming underwater while looking up at the surface through columns of sea life, but also as I am trying to achieve density of color while I paint on layers.
I also think of the passage of time as layers and how those layers build upon each other to create where we are now and how quickly man has managed to overthrow nature. As I look to the surface I’m often struck by the reflections of nature and also of the elements above which signify, to me, the encroachment of man. Often in my work are reflected bits of plastic, distorted skyscrapers and even pink insulating wrap. The reflected underside of the sea appears beautiful, often serene and abstract while in reality it is merely a nanosecond of captured time and in-fact not abstraction."
STRATA Artist, Kim Marcucci
"Layering captures moments in time, emotions in time.
I was drawn to this call because it is how I paint. By layering colors, shapes, textures and line, I create a surface history that is rich.
“Land” was inspired by the struggle for land and water in the Navajo Nation."
STRATA Artist, Anita Rama
“Our memories, the universe, the earth’s core, the atmosphere, even our existence on the surface of this planet, everything feels layered. A line of thick trees, the light shining through them, the layers of grass, the whistling wind and hum of the bees, all appear in layers in my mind’s eye. What if the flowers suddenly possess wings and start flying? The small flowers, the large flowers, the petals, some clear and closer, some farther away fading, just like our memories some strong and some fading. I call these flowers in layers “Flower Flies.” They fly just like my fleeting emotions and thoughts.”
STRATA Artist, Jack Straton
"Within this great ape lies a personality, who refers to himself as "Jack," and beneath the socialized person is a more authentic core, an expression of the creative impulse. Yet as "I" walk through the world photographing and some element calls out to "me," I become aware that there is some part of "myself" in the object seen. Or perhaps it is this newly-revealed part of "the world" that I sense within "myself." When tuned in to this extent, the nature of existence becomes more diaphanous. Neither the ape, nor socialized Jack, nor authentic self is radically separate from the world through which the ape moves, and that world moves around, past, and through the ape. World and self co-create each other instant by instant and for all eternity."
STRATA Artist, Liz Thoresen
“ The clearest way into the Universe is through a forest wilderness”
In thinking about this blog post, I discovered a term that was new to me:
“Forest Bathing”. The actual term is shinrin-yoku, created by the
Japanese Ministry of Agriculture, Forestry, and Fisheries in 1982. There is
no bathing required, just encouraging people to spend time in nature as a
way to de-stress and increase one’s well-being and happiness.
The goal is to live in the present moment while immersing your senses in the sights and sounds of a natural setting. It is a simple way to manage stress and avoid the toll stress can make on one’s health.
That intention is an integral part of my art practice. During the painting
process, I live in the present moment breathing in a relaxed state of mind
while I distance myself from everyday matters. These moments in my
studio all lead to discovery and wonder of how the medium and materials
work together to create the end result. It is the revelation involved in each
step that makes me see things with new eyes and leads to an increased
feeling of well-being.
Nature is a continual inspiration for my art and I realize I have been
practicing “Forest Bathing” all along. Living in the country is a privilege for
which I am daily thankful. Spending time in the garden, sitting with the
trees, driving on roads lined by forests, seeking out green spaces, and
making a connection to nature a priority, inspires and brings me peace.
“Woodland Refuge” is multilayered with elements of the understory or the
floor of the forest. It invites the viewer in to a lush world of the underlying
vegetation and plant details that exist quietly under the dominance of the
trees. I hope that the onlooker finds a sense of peace by a short escape
into my painting."
STRATA Artist, Rhiannon Robinson
“My work always begins with language, a piece of writing which inspires me to interpret its meaning through print and embroidery. I took the text for this piece, about how fossils form in rock strata, from ‘A Land’ by Jacquetta Hawkes, first published in 1951. A very personal and elegiac piece of writing, the book charted 4 billion years of Earth history, through geology, archaeology and cosmology, becoming a bestseller and one of the defining British non-fiction books of the postwar decade. Sixty years on, it’s still a classic in the literature of nature and landscape.”
STRATA Artist, Ron Conrad
"Our personal perception of layered time flying by while we look forward to vague bits of future possibilities and backwards to a fragmented past is our most intimate experience."
STRATA Artist, Bob Conge
"From childhood I have wondered about space / time in how everything seemed to
exist in yesterday, today and tomorrow and how tomorrow always became today and today always became yesterday. Very difficult stuff to contemplate until a few years ago when I came across Einstein’s visualization of space / time as a loaf of sliced bread with the Big Bang as the first slice on the left and outer limit of the expanding universe as the last slice on the right.
Somewhere in the middle is a slice we call now and all the slices to the left of now are in the past and the slices to the right are in the future. This comes with the realization the everything in the past still exists and everything in the future already exists, talk about strata.
The reality of this still eluded me until one morning a couple of years ago when upon waking I was sitting on the edge of my bed and looking at the oak dresser in front of me that had been there for 27 years and realized it would most likely be there tomorrow. This would require that the dresser and everything else in the universe is already there in the future now.
Epiphany ! The future has already happened."
STRATA Artist, Candace Pratt
"'NATIVE GRASSES - In Harmony with Fire' is a sculptural flame-vessel illuminating the historical significance of indigenous conservation practices worldwide. These sacred cultural burnings were beneficial to the land and to the health of the population. It is the story of the annual spring growth of the emerald-green grass, the summer drying, and the ceremonial burning allowing the cycle to repeat anew."
STRATA Artist, Dianne Jean Erickson
"Many of my “Stacked” pieces are painted over previous paintings, they already have a wonderful history. Each piece is a buildup of many layers of paint as I work to finalize line widths and colors. The “Strata” builds with every application, and reveals itself when scraping back through the many layers. I am fascinated with the interplay of color and shape, and how even a subtle change in color or the width of a line can make such a difference. I also look for opportunities to let previous color show through, just enough to surprise the viewer when giving the piece a closer look."
Dianne Jean Erickson
STRATA Artist, EARL GRENVILLE KILLEEN
"In Nature, as in the human psyche, layering is the result of accretion and erosion. In my art work, accretion is achieved by applying successive coats of paint, often of contrasting hues, using a stencil brush as well as an assortment of traditional watercolor brushes. Erosion, in my layering process, is rendered by a small power-sander, or damp crinkled tissue, or liquid frisket used as a paint remover, or wet beach sand that’s scraped off once it’s dry. The vagaries inherent in these wearing-away techniques, as in the weathering effects of nature and life, produce a surface perforated with glimpses of what’s underneath.
So even in an image with a shallow “depth of field”, which characterizes most of my paintings, the surface itself suggests hidden or hinted-at dimensions."
EARL GRENVILLE KILLEEN
STRATA Artist, Mark Weller
“I view reality through the kaleidoscope of time… one second effects the next, effects the next, and so on; which accumulates as the strata of moments. To capture that in art is to capture a more honest and truthful presence. Photographing a landscape over four or five minutes accentuates the pure essence of what we see. And how we see things fundamentally influences our perception of our surroundings, our attitudes, our understanding of who we are and how we fit into the cosmos.”
STRATA Artist, Malcolm Glass
"I am a traditionalist. Although I sometimes use a digital camera, I prefer film.
But for some images, a minimal use of digital processes can help me create an
image with new perceptions and implications. In all of my artwork, and in my writing, I trust the process of discovery and surprise. I stay open to happy accidents and allow the tools and materials to lead me to something new and unique. So it was with “Bodyscape,” the photograph in this exhibition. The image of the torso was originally captured on film and the negative was scanned. In Photoshop I played with the image, trying various ways of altering the presentation while keeping the image basically unchanged.
On a whim, I picked up a letter-size piece of stationery that depicted a map and
wondered how it would look as a background. I enlarged the map to the size of the
torso image (13” x 18”) and printed it. I did not use layers for the final image. For some reason I decided to overprint the figure on the enlarged map. The placement and alignment of the two images was pure chance."
“When your work speaks for itself, don't interrupt." Henry J. Kaiser / Gamble Rogers
Shared by STRATA Artist, Malcolm Glass
STRATA Artist, Linda Trytek
"I came upon this fence which is meant to prevent sand erosion. The layers of sand that make up the dunes are literally “on the move” marching to new formations and locations. The fence itself was layers of sun and shadow. This photo was originally in color, but when I removed the layers of color a much more dramatic image presented itself. Life is many layers of meaning. What you see on the surface of things and people is not what lies at their core. Examining each layer in detail enables us to witness truth."
STRATA Artist, Ray Lee
"My drawing is from a series titled “Horizon” that I completed in 2021. The series is an exploration of visual boundaries or layering, e.g., above/below, perceptible/imperceptible, open/closed. The drawing presents the effect of perceiving layers that discloses a viewer’s sense of being in the world."
STRATA Artist, Beth Kerschen