Nancy Farrell
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Nature is the impetus for my creative process. For me, the process of art-making has at its core a contemplative, spiritual understanding of the natural world. My response is to select, distill, convert and arrange textures, shapes, marks and colours that emerge from distilled memories of landscape.
I have always been intrigued with the endless potential of abstract and non-objective painting. These forms of expression challenge me with an unparalleled means of conveying emotion and mood. I enter into the “space” of each blank canvas with no agenda. My painting begins by applying random colours, lines and shapes onto canvas or paper. The painting surface develops slowly with layer upon layer of paint. Personal symbols are often included as imagery evolves. Images flux, and motion becomes visible. |
Art speaks of things that cannot be easily expressed, and each painting develops a personality of its own by tapping into unconscious and conscious memories. My paintings contain both the organic forms of nature as well as geometric man-made forms. Responding to the natural and man-made world involves altering the visual forces that are encountered during the painting process. Marks and shapes emerge and disappear.
I use a variety of tools to apply pigment, including brushes, putty knives and various hardware and kitchen implements. Crayon, graphite, oil sticks and found objects are incorporated. While the surface is still wet, scraping reveals previous layers. Each drip, run and tool mark plays a role in the outcome, creating a constant flow of problem solving. The process continues until balance or a feeling of resolution is achieved.
In approaching my paintings I am asking the viewer to slow down and enter into my space. In the process I ask them to become equally aware of their own personal space and individual response to the painting. As Mark Rothko states, “A painting is not about an experience. It is an experience”. The intent is for the viewer to be able to reflect on the vitality of the paintings as a catalyst for personal reflection.
I use a variety of tools to apply pigment, including brushes, putty knives and various hardware and kitchen implements. Crayon, graphite, oil sticks and found objects are incorporated. While the surface is still wet, scraping reveals previous layers. Each drip, run and tool mark plays a role in the outcome, creating a constant flow of problem solving. The process continues until balance or a feeling of resolution is achieved.
In approaching my paintings I am asking the viewer to slow down and enter into my space. In the process I ask them to become equally aware of their own personal space and individual response to the painting. As Mark Rothko states, “A painting is not about an experience. It is an experience”. The intent is for the viewer to be able to reflect on the vitality of the paintings as a catalyst for personal reflection.