Welcome back, I always enjoy your presence here. There's lots of stuff on the internet, so I'm pleased to see you back! I appreciate you :D
“I am not interested in making people uncomfortable, but at the same time I don’t have an interest in paintings that are truly passive. The best paintings are ones that require an active, discerning viewer.”
Laura Owens
Signs in the Forest, Laura Owens
Her paintings are quite large; taking up huge walls, creating landscape with oil, watercolour, and/or acrylic, she leaves parts of the canvas unprimed. She creates a sense of depth with the push pull in the background between the negative shapes and assorted markmaking and subjects: powerful use of the negative space.
Laura Owens' Untitled 2002
She adds unexpected elements, like a deck of cards and a monkey in Untitled 2002. Her work shares elements with printmaking and global textiles. Her grandmother embroidered and she has a fascination with embroidery that shows through.
The importance of developing craft, embroidery and Laura Owens:
Her work is both painting and about painting. . . . It’s like in a Moliere play, when an actor talks in character and then stands to the side and comments on the play. I believe she’s the most important painter to emerge in Southern California in the ’90s.
– Paul Schimmel
interviewed by Dodie Kazanjian in Vogue, April 2002
I'm creating some resources for you- it's just a matter of WHICH ONE YOU WANT!! Vote- and you'll get it PRO BONO. (that means I do the work and you benefit for free)
You need to enter your email address above if you'd like me to send it to you as soon as it's done!
Laura Owens: Painting, and the Space Unpainted
Signs in the Forest, Laura Owens
Her paintings are quite large; taking up huge walls, creating landscape with oil, watercolour, and/or acrylic, she leaves parts of the canvas unprimed. She creates a sense of depth with the push pull in the background between the negative shapes and assorted markmaking and subjects: powerful use of the negative space.
Laura Owens' Untitled 2002
She adds unexpected elements, like a deck of cards and a monkey in Untitled 2002. Her work shares elements with printmaking and global textiles. Her grandmother embroidered and she has a fascination with embroidery that shows through.
The importance of developing craft, embroidery and Laura Owens:
Her work is both painting and about painting. . . . It’s like in a Moliere play, when an actor talks in character and then stands to the side and comments on the play. I believe she’s the most important painter to emerge in Southern California in the ’90s.
interviewed by Dodie Kazanjian in Vogue, April 2002