March exhibition catalog

R E YN O L D S F I N E A RT presents

Michelle Benoit and Stacey Alickman

For inquiries please contact:

Reynolds Fin e Art 96 Orange Street New Haven, CT 06510 203.498.2200 info@reynoldsfineart.com

www.reynoldsfineart.com

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Stacey Alickman

In the past couple of years, I’ve been layering oil paint over extended periods of time, often putting it on then taking it off. At some point, the physical aspects of the paint assert itself and I am no longer controlling the outcome.

The paint wills itself into a composition that is not of my ideas but something hopefully more transcendent. Lately, I’m simply more open to the possibility of not knowing what the work is about. A painting I can live with is one that results in an end that couldn’t have gone any other way.

I’m most excited to be exploring more nuanced kinds of texture. Not just impasto and ridges but also something that is the perception of texture rather than just texture itself. I am finding new inspiration in current work by sanding down the paint in order to build up lines again while allowing for previous layers to come through.

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Stacey Alickman Flim Flam Man Oil on canvas 60” x 60”

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Stacey Alickman Love is Blue Oil on canvas 30” x 30”

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Stacey Alickman Wet into Wet Oil on canvas 24” x 18”

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Stacey Alickman Pompeii Oil on canvas 12” x 10”

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Stacey Alickman You Break it You Own it Oil on canvas 22” x 18”

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Stacey Alickman Quindi Oil on canvas 22” x 18”

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Stacey Alickman Tethered We Are Oil on canvas 24” x 20”

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Stacey Alickman Simpatico Oil on canvas 24” x 18”

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Stacey Alickman Senti Oil on canvas 22” x 18”

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Michelle Benoit This body of work is a tangible remembering. A collection of recollection through washes of paint on bulletproof plastic and wood. Color through anamnesis has been excavated and extracted physically and metaphysically. The painted Lucite objects are a removal, isolated moments are layered over, under or adjoined to amorphous events. Experience, reorganized and funneled through a reductive approach.

Sequence reconfigured, sometimes time all at once.

Content is ingrained in the process itself and alchemical reaction. The components and systems have been fluid over the years but the intent has remained constant, to embed meaning with time, isolated, to visually see what it looks like.

Influences for me are mostly drawn from the natural world where there is evidence of the passage of time. Often there is a peculiar synthetic beauty imposed on this juncture. Years of accumulation, collection and categorization are impressed in my work. I think that my time spent at the State Office of the Archeologist combined with the Memory Boards of the Luba people, Gordon Matta-Clarke, William Anastassi, James Turrell, Rachel Whiteread and Mark Rothko are just a few artists that I admire.

Materials frequently have their own history as they are frequently reclaimed and recycled. Compositions are composed in relation with the size of the fragments.

Collected, cut, painted, stacked, mortared and coalesced. Memory transported through color is embedded in transparency, revealing process, light, interference, color and seam as image. Infrastructure is exposed. Memory is encased in complexion, saturation, and matter. The color combinations are coded and symbolic of the past, the present, place, and all that that might encompass. I think of the results as a contemporary geologic core sample, a very personal, yet collective landscape.

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Michelle Benoit Willard Street Series 2 Mixed media on Lucite and wood

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Michelle Benoit Untitled 3 Mixed media on Lucite and wood 14” 11.75” x 3”

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Michelle Benoit Untitled 3 Side view

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Michelle Benoit Untitled 4 Mixed media on Lucite and wood

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Michelle Benoit Untitled 4 Side view

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Michelle Benoit Untitled 5 Mixed media on Lucite and wood

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Michelle Benoit Untitled 5 Side view

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Michelle Benoit Untitled 1 Mixed media on Lucite and wood

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Michelle Benoit Untitled 2 Mixed media on Lucite and wood

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Michelle Benoit Untitled 2 Side view

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