Artist Profiles

 Page 2 - Ravenna Taylor / December

Still, all is not equal; some forms are denser than others and the textures never seem to stop contrasting each other. This, along with the shapes of the forms, establishes a refreshing tension that is nevertheless kept in check by a subtle continuity of hues. Here and there in some paintings, lines are added in or hinted at.  In �Just Asking�, for example, one of the lines playfully suggests the profile of a face and is echoed where the white shape meets the ochre on the lower left.

Invisible Rivers, 2000, oil on canvas, 27 x 23 in.

Beyond Belief, 2002, oil on canvas, 42 x 44 in.

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Just Asking, 2002, oil on canvas, 32 x 30 in.

Or look at �Invisible Rivers� and how the central dark form is a mixture of closely aligned hues.  It maintains ambiguity in its relation to space by dropping back like a dark hole in the picture plane even as it thrusts itself forward. The two light blue forms complicate matters by doing the exact same thing. That dark form is central to the work and ties the other shapes together but it looks (and feels) uneasy within the painting. This is not a bad thing; rather the resulting tension fits perfectly.

Quarry 3, 2001, ink and gouache, 12 x 10 in

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