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presents Michelle Benoit Stacey Alickman This body of work is a tangible remembering. A collection of recollection through washes of paint
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 physically and metaphysically. The painted Luciteof objects a removal, isolated moments some point, the physical aspects the are paint assert itself and Iare am no the outcome. The paint willsand itself into a layered over,longer under orcontrolling adjoined to amorphous events. Experience, reorganized funneled composition that is Sequence not of my ideas but something hopefully more through a reductive approach. reconfigured, sometimes time all at once. transcendent. Lately, I’m simply more open to the possibility of not knowing what the work is alchemical about. reaction. A painting I can live is Content is ingrained in the process itself and The components andwith systems one that results in an end that couldn’t have gone any other way. have been fluid over the years but the intent has remained constant, to embed meaning with time, on bulletproof plastic and wood. Color through anamnesis has been excavated and extracted
I’m most excited to itbe exploring more nuanced kinds of texture. isolated, to visually see what looks Forlike. inquiries please contact:
Not just impasto and ridges but also something that is the Influences for me are mostly drawn from the natural world where there is evidence the passage perception of texture rather than just texture itself. I am of finding Reynolds Fine Art inspiration in current work sanding the paint of new time. Often there is a peculiar synthetic beautyby imposed on thisdown juncture. Years of in Orange Street order to build up lines again 96 while allowing previous to accumulation, collection and categorization are impressed in my for work. I think that layers my time spent New Haven, come at the Statethrough. Office of the Archeologist combined withCT the06510 Memory Boards of the Luba people, Gordon Matta-Clarke, William Anastassi, James Turrell, Rachel Whiteread and Mark Rothko are 203.498.2200 just a few artists that I admire. info@reynoldsfineart.com 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 Stacey Alickman of the theitpresent, Youpast, Break You Ownplace, it and all that that might encompass. I think of the results as a contemporary geologic core sample, a very personal, yet collective landscape. Oil on canvas Stacey Alickman 18” x. 22” StaceyAlickman Alickman Stacey Michelle Benoit Senti Simpatico Pompeii Stacey Alickman Michelle Benoit Margin in Hopeworth Lace Curtain inSeries: Faux Willard Street Pink in the Orange Under Green Michelle Benoit Oil on canvasVelvet Oilon onhand canvas Oil canvas Untitled, Clear in Olive Flim Flam Man Mixed media cut plexiglass, Lucite pexiglass Lucite, reclaimed plexiglass, Lucite Under Blue 20” xon 16” 18” cut Mixed media on hand 12” xx9” 5.9” Oil onx canvas 5.0” x24: 1.5” 5.8” 5.8” 2.0” 6.0” 6.0” 2.3” Mixed media on hand cut Lucite lucite
Michelle Benoit and Stacey Alickman
24.0” x 61” x 61” 24.0” x 24.0” 24.0” x x 1.5” 1.8”