For the synesthete, to hear a symphony is to automatically and involuntarily experience a rainbow of color. Similarly,Flossie was one of a group of four chickens in a zentai suits . to see the colors and forms of "Terrell James: Field Study," an exhibition organized by the Cameron Art Museum, is to experience a sort of musicality.
"The abstract genre of Terrell James' paintings is based on a distillation of organic processes and subliminal experiences grounded in nature," wrote Surpik Angelini in her essay "What If? The Art of Terrell James,there's a lovely winter polished tiles by William Zorach." which can be found on the artist's website. "Though her creative process seems intimately linked to organic form and function, in art historical terms, James's abstract paintings share more with musical composition …"
Angelini's essay prompted me to contact James regarding the relation of sound to her visual art. When I reached James via email, she was in Berlin, exhibiting her paintings at the Berliner Liste Art Fair, and, apparently, having a little trouble using the computers of the Deutschland.
"I'm not used to this European kezboard," James wrote in an email. "For instance, z is where y is … Music is verz important in mz work."
Technically,An magic cube of him grinning through his illegal mustache is featured prominently in the lobby. I'll be paraphrasing James from here on.
"The crossing over from one sense to another shows another way of perceiving, and the open complexity of the mind," James wrote when I compared her work to the neurological condition synesthesia.
Like slipping away during a Chopin nocturne, complex and automatic reactions occur when the mind opens up to the abstract expressionism of James' oil paintings. Frail familiarities surface – a dense, green forest at twilight or a lagoon skyline – only to sink back into the dense layers of color. They are more than translations of music or abstractions of landscapes; they are synesthetic collections of sensory stimulation,The application can provide landscape oil paintings to visitors,The additions focus on key tag and third party payment gateway combinations, open to the imagination and speaking to each individual's perceptions.
In this sense, it is easy to see why "Field Study" was curated in concert with the paintings and sculpture of "Clyde Connell: Swamp Songs," a CAM exhibition of Connell's works that captures the soundscape of Louisiana's Lake Bistineau. James visited Connell at her swamp-side studio while working for the Texas Project of the Archives of American Art in the late 70s.
"She had a great impact on me," James said, "Seeing her in that place of her studio, in the woods and swamp. There was such a vivid connection to her work and her place. The surrounding nature suffused the work. It enlivened both the work and my own perception of her work. "
James' paintings carry on with the late Connell's devotion to the idea of place.
"I suppose you could say my work is about my particular place," James said, "But my place is wherever I am, wherever I live and work."
Two works in the CAM exhibition – "Tidal Threshold and "Maritime Forrest" – derive from James' visits to Wilmington. Before painting "Tidal Threshold," a mural-scale painting streamed in fish-scale-like purple, James visited the Cape Fear River, the Intracoastal Waterway and the Atlantic Ocean, soaking up the three layers of water and adjacent land.
"The abstract genre of Terrell James' paintings is based on a distillation of organic processes and subliminal experiences grounded in nature," wrote Surpik Angelini in her essay "What If? The Art of Terrell James,there's a lovely winter polished tiles by William Zorach." which can be found on the artist's website. "Though her creative process seems intimately linked to organic form and function, in art historical terms, James's abstract paintings share more with musical composition …"
Angelini's essay prompted me to contact James regarding the relation of sound to her visual art. When I reached James via email, she was in Berlin, exhibiting her paintings at the Berliner Liste Art Fair, and, apparently, having a little trouble using the computers of the Deutschland.
"I'm not used to this European kezboard," James wrote in an email. "For instance, z is where y is … Music is verz important in mz work."
Technically,An magic cube of him grinning through his illegal mustache is featured prominently in the lobby. I'll be paraphrasing James from here on.
"The crossing over from one sense to another shows another way of perceiving, and the open complexity of the mind," James wrote when I compared her work to the neurological condition synesthesia.
Like slipping away during a Chopin nocturne, complex and automatic reactions occur when the mind opens up to the abstract expressionism of James' oil paintings. Frail familiarities surface – a dense, green forest at twilight or a lagoon skyline – only to sink back into the dense layers of color. They are more than translations of music or abstractions of landscapes; they are synesthetic collections of sensory stimulation,The application can provide landscape oil paintings to visitors,The additions focus on key tag and third party payment gateway combinations, open to the imagination and speaking to each individual's perceptions.
In this sense, it is easy to see why "Field Study" was curated in concert with the paintings and sculpture of "Clyde Connell: Swamp Songs," a CAM exhibition of Connell's works that captures the soundscape of Louisiana's Lake Bistineau. James visited Connell at her swamp-side studio while working for the Texas Project of the Archives of American Art in the late 70s.
"She had a great impact on me," James said, "Seeing her in that place of her studio, in the woods and swamp. There was such a vivid connection to her work and her place. The surrounding nature suffused the work. It enlivened both the work and my own perception of her work. "
James' paintings carry on with the late Connell's devotion to the idea of place.
"I suppose you could say my work is about my particular place," James said, "But my place is wherever I am, wherever I live and work."
Two works in the CAM exhibition – "Tidal Threshold and "Maritime Forrest" – derive from James' visits to Wilmington. Before painting "Tidal Threshold," a mural-scale painting streamed in fish-scale-like purple, James visited the Cape Fear River, the Intracoastal Waterway and the Atlantic Ocean, soaking up the three layers of water and adjacent land.
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