Is "ART" all ways in the eye of the beholder?
Today is a rainy and foggy day in Pasadena, CA. However, we are finding these works of art by Resa Blatman to be very inspiring. Her process is fascinating, and one can just admire them for their beauty or the technic that goes into their creation.
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There is something very magical in all her work. We hope you find them inspiring as well.
Over the last several years my work has dealt with nature and fertility. While nature is still an integral part of my work, my primary concern is with current environmental issues and industry's effect on our landscape and natural resources. Some of these issues include mountaintop removal (for coal), hydraulic fracturing (for natural gas), oil drilling, and the Keystone XL oil pipeline project.
I’m fascinated by beauty in art and nature and exploit it in my work. While at the same time, I recognize that the underbelly of beauty and nature is often frightening and grotesque, and I like this as well — I find this contradiction deeply complex and intriguing, especially in its relationship to human behavior, and how we perceive and treat nature. I strive to incorporate this paradox in my work with the myriad elements that I apply to the painting’s surface, such as glass and plastic beads, glitter, Austrian crystals, and thick layers of glue, as well as the painted subject matter. Since 2008, I’ve been making the “cut-edge” paintings, but my recent surfaces have migrated back to a straight-edge format, where I’m drawing and painting the flamboyant elements of the laser-cut edges into the rectangle.
Some of my stylistic references are to art history, including the Renaissance, Baroque, Victorian decorative art, Romanticism, and antique botanical imagery; these influential art movements, combined with my own concepts, elicit painting compositions that are seductive visual feasts of fruit, flora, wildlife, and beauty laced with brooding undertones.
The cut-edge paintings are made on ¼-inch PVC or Plexiglass. I design the patterns on the computer and then have the panels professionally laser-cut. Once back in my studio, I begin the painting process. The cut edges extend the subject matter and pattern of the painting, with insects flittering along the wall and casting shadows for a three-dimensional effect.
Read more at Design Milk: http://design-milk.com/resa-blatman/#ixzz1mHjdIrWV