Clockwise from top left: Francisca Sutil: Resonancia No. 7, 2005;
Carole Seborovski: Winter, 2003; Julie Hedrik: Lapis Rim, 2009;
Heather Hutchison: Divided (Vermillion), 2008
August 25 – October 3, 2009
Intangible Moods, a group exhibition including twelve works by four women artists depicting minimalist abstract forms will be on view at the Nohra Haime Gallery from August 25 through October 3.Artists featured in this exhibition are Julie Hedrick, Heather Hutchison, Carole Seborovski and Francisca Sutil.
Though their idioms are quite different, the effects of light, color and depth unite the works of these artists. In combining these components, each artist – with a unique vision and voice – engages the spectator’s awareness and perceptions, provoking visual experiences that are rather enigmatic and challenging, sublime and arresting.
In Hedrick’s highly textured and expressive paintings, everything is alive and vibrating with energy. Her use of tonal variations and impastos gives her work a tactile, contemplative quality that is highly complex. This is manifested in Lapis Rim, 2009, where it seems there is a kind of spiritual light hidden behind the vivid sea-blue hues. Equally seductive and ethereal is Departed, 2007, by Hutchison, where a soft glow emanates from within. By applying encaustic and enamel in horizontal bands to Plexiglas panels, Hutchison creates translucent works that assault the senses and remind us of the gentle movement of air and light.
In a similar manner, Sutil’s sublime constructions composed of infinite layers of pigmented gesso bring forth a remarkable luminosity that almost creates a metallic sheen. This quality is evident in Resonancia No. 7, 2005, where the viewer is immediately overwhelmed by its sheer physical impact, but is suddenly challenged to go beyond its aesthetics into the realm of the abstract thought and sensation. On the other hand, Seborovski chooses to envelop the viewer in flickering light and dark circular shapes and contours that appear to transform and palpitate in space. In her work Remains, 2003, it seems there is a certain moving spirit that mysteriously lingers around the various shades and forms.
In the end, it is the abstract experience that is real and powerful in this moving exhibition. Given a few moments in front of these seductive surfaces, the spectator is inevitably drawn by fleeting, intangible moods.