 |
|
|
|
|
|
|
|
|
Page 2 - Pat Passlof / January |
|
|
With the last paintings (all titled �Hamlet�s Mill� plus a number) the grid is subtly retained or exploded into triangles. Although this work is more passive the artist deftly achieves a measure of force through her painting handling and |
|
|
|
|
Hamlet�s Mill #2, 2001, oil on linen, 80 x 132 in |
|
|
|
arrangement of hues. The ground color is �located� by weaving and blending several hues and brighter, more intense color is compressed into edges and lines. Take a painting like Hamlet�s Mill #41 where the brighter red becomes even more intensified for surrounding the yellow triangles as lines. Because of this the triangles themselves stand out from the ground, which is further reinforced by the bits of brighter yellow they contain. Even so they remain part and parcel of the ground via the same paint handling and how the color from the ground is allowed to bleed in. |
|
|
|
|
Hamlet�s Mill #41, 2002, oil on linen, 36 x 30 in |
|
|
|
Previous Page |
|
|
|
|
|
|
|
|
|
|
|
|
 |
|
|
Emily Dickinson, 2000, oil on linen, 75 x 65 in |
|
|
|
Throughout her work Passlof applies a few basic elements to great effect. Begin with how the forms are always kept simple: triangles, lines, bars, blips, etc. Just considering the forms could you say her work is reductive? Yes, but just try to ignore all |
|
|
|
|
|
|
On the Road, 2000, oil on linen, 30 x 30 in |
|
|
|
that sensuous painting handling and seductive color. Or the way in which those same simple forms are rendered with indeterminate edges. From a birds-eye view Passlof also seems to keep the color simple. Given this perspective, a painting such as Hamlet�s Mill #36 could be described as |
|
|
|
Next Page |
|
|
