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Created and Sold by Rachel Ostrow
Let's Run Away, 2020 - Paintings
Price $5,000
In Stock Now
Shipping: UPS 6-9 days
Estimated Arrival: November 26, 2024
| Dimensions | Weight |
|---|---|
36H x 42W x 2D in 91.44H x 106.68W x 5.08D cm |
Let's Run Away, 2020, oil on panel, 36" x 42"
We are often given instructions on how to see art and what it means or why it was made. Instead, my paintings are open to many different types of interpretation. They are filled with the energy of chance and discovery. They play with form, space, movement, light and character. They exist somewhere between what is recognizable and what is otherworldly or abstract. Indulging in the mystery and changeability of perception, they give authority to the viewer’s imagination to navigate their own visual experience.
Painting with a squeegee, I unearth images by spreading transparent paint around on a slippery panel. I add paint with a brush and throw paint and mediums at the surface. Then, with varied speed, pressure and gesture, I draw over those marks with the squeegee. When paint combines under pressure from the rubber blade, it mixes based on its material properties. Oil paints are composed of different pigments and binders. When the colors are pushed together, they form detailed passages that are irregular and mimic the natural world.
The gesture of my mark is (somewhat) controlled, but the way the paint reacts underneath it is not. The paintings exist as physical records of movement, both natural and (wo)man-made. They embody the relationship between intention and chance, echoing the dynamic in our universe between order and chaos.
We are often given instructions on how to see art and what it means or why it was made. Instead, my paintings are open to many different types of interpretation. They are filled with the energy of chance and discovery. They play with form, space, movement, light and character. They exist somewhere between what is recognizable and what is otherworldly or abstract. Indulging in the mystery and changeability of perception, they give authority to the viewer’s imagination to navigate their own visual experience.
Painting with a squeegee, I unearth images by spreading transparent paint around on a slippery panel. I add paint with a brush and throw paint and mediums at the surface. Then, with varied speed, pressure and gesture, I draw over those marks with the squeegee. When paint combines under pressure from the rubber blade, it mixes based on its material properties. Oil paints are composed of different pigments and binders. When the colors are pushed together, they form detailed passages that are irregular and mimic the natural world.
The gesture of my mark is (somewhat) controlled, but the way the paint reacts underneath it is not. The paintings exist as physical records of movement, both natural and (wo)man-made. They embody the relationship between intention and chance, echoing the dynamic in our universe between order and chaos.
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