Created both indoors and outdoors, my sculptures and installations evoke the forms of wall works, Land Art, and still lifes. Some works are permanent, while others last only for a day or until the rain washes them away. The work describes an internal geography—a romantic one—influenced by the rural, rugged terrain of my youth and the cities where I have lived. Materials with a strong physical presence, such as wood, rock, and paint, are paired with those that possess spiritual or even mystical associations, such as mirrors and light. Organic elements are interrupted by hard angles; real space is juxtaposed with the illusory. Whether one interprets the work as an object, portal, painting, or perhaps “artifact” from the future, the visual effect derives from wonderment for the landscapes I feel bound to and drawn to capture through lenses of femininity and the mythical.
Defying gravity, the four 8-foot clay bodies of Rose B. Simpson's Countdown, her new body of works commissioned by the SCAD Museum of Art, pack a powerful presence.
Burnaway takes a close look at BIG BODY PLAY, a group show by Tiger Strikes Asteroid on view at the Fine Arts Center's Sheffield Wood Gallery in Greenville.
Carolinas editor Susan Lee Mackey observes the successes and failures of public land management through two new exhibits at the Asheville Art Museum.