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My work is motivated by an ongoing exploration of forms in space and emphasizes the interaction between a whole and the jumble of individual elements that collectively create a moment in time. The process of building each painting is reflective and leisurely. Although I begin each painting with a loosely drawn network of shapes, I work intuitively and without a preconceived endpoint, welcoming the unexpected. My palette may be derived from nature, might be a response to the work of another artist, or be prompted by an exploration of a particular pigment. Transparent layers of oils are applied, scraped and sanded until the structure of the composition emerges. Areas of focused activity are developed to balance larger areas of quiet. Forms are adjusted, obliterated and may re-emerge in subsequent layers. In the most recent work, lines are incised into areas of wet paint to expose hidden layers of color. The paintings continue to evolve until color, rhythm and movement reach a harmonious whole. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Broadway series (2009 – ongoing) is a reflection of my life- long connections to both music and movement. Music, particularly jazz, is ever present in the studio and the structure and patterns in my paintings are influenced by rhythmic and melodic elements of the music. While there are compositional references to architectural structure, my intention is to maintain spatial ambiguity. In the Arabesque series (2008 – 2009), I explored activity set against calm, quick against slow, syncopation against elongation. The curved forms of this series represented a departure from previous compositional approaches. Previous series (Scrim, 2002-2004, Windows 2005) were driven by investigations of architectural structure and light. The images were contemplative and focused on spatial ambiguity and stillness. With the Sonia (2006) and Loretta (2007) series, geometry became a driving force in the compositions. Large forms were skewed and began to tilt and slide while smaller pieces served as visual punctuation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Underlying the drive to place color against color and find rhythms in the forms is a desire to create a space for contemplation, a place to pause. |
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All images and content Copyright 2007-2010 © Tamar Zinn tz@tamarzinn.com web site by canopy studios, inc. |
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