GreenHill's Virtual Gallery presents NC Women Abstract Painters, an exhibition which opened in our Greensboro gallery on February 7 and features five exceptional artists: Eleanor Annand, Barbara Ellis, Celia Johnson, Katy Mixon, and Felicia van Bork.
NC Women Abstract Painters is sponsored by Founding Members of GreenHill’s Women’s Gateway Circle, Kara Cox Interiors, iHeartRadio, and Proximity Hotel.
Since moving in 1975 to the former printing room of the Greensboro News Company, GreenHill has presented works by hundreds of artists in an expansive, light-filled professional gallery setting. With this new initiative, we are pleased to grow our community and connect with arts enthusiasts in compelling new ways.
We welcome your inquiries about the works shown here. For further information about sales and delivery opportunities, please reach out directly to Edie Carpenter at firstname.lastname@example.org.
In my work, I bring a sensitivity to materials, form and composition as a means for exploring the human condition. Unbound by one medium, I shift ideas from painting and printmaking into sculpture, installation, and video. This approach allows me to respond to form and material from multiple vantage points and encourages me to work energetically and untethered to expectation.
My work is informed by personal ideologies of the spiritual, the socio-political and family, the things that define who I am. Oftentimes, creating a pleasing composition requires turning chaos into order using both additive and subtractive methods. The process is repeated layer by layer as I respond in free-sweeping gestures that emanate from Spirit.
While my work is formally intuitive, it is calculated in its design and plotting, playing juxtaposed elements and relational situations against one another in the layering and building of the planar surfaces. This is the continuation of a fascination with color as form that began in my childhood.
The surface is where I and the other meet, where porousness allows for give and take. Paintings are inquiries into the potency of a surface, the capacity of color and texture to both emote and conceal.
I make collages to learn about the meaning-making possibilities of pictorial composition. I make color field works to learn about the meaning-making power of color relationships. The two pursuits overlap and inform each other. Like many artists, I react strongly to color and contrast, and readily see and create metaphor. I never tire of these things. How far will this sensitivity take me? I have been testing to find out.