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Posts Tagged ‘The Chandelier Drawings Catherine L. Johnson 2006 ; Catherine L. Johnson;’

THE OBJECT OF THE ARTIST IS THE CREATION OF THE BEAUTIFUL. 
WHAT THE BEAUTIFUL IS IS ANOTHER QUESTION.  
                                                                                                                                                                                       James Joyce

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

MY29DECBIRTHDAY MYSOULFRIENDJANET DROPOFMAGNIFICENCE; CATHERINE L. JOHNSON;

MY29DECBIRTHDAY MYANAMCARAFRIENDJANETANAM DROPOFMAGNIFICENCE; CATHERINE L. JOHNSON; EARRINGS DESIGNED BY ALEXIS BITTAR 
THE OBJECT OF THE ARTIST IS THE CREATION OF THE BEAUTIFUL. 
WHAT THE BEAUTIFUL IS IS ANOTHER QUESTION.  
JAMES JOYCE

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

WHAT IS AMAZINGAMAZINGAMAZINGGORGEOUSSTUNNING  IS AN ANAM CARA FRIEND.

 +

WHAT IS IS.
 
 
 
 

 

 

 

 

BLISSBEAUTIFUL GRATITUDE.
TO BE SEEN,
TO HAVE MY SPIRIT + SOUL DISCLOSED, WELCOMED
AND
RECEIVED WITH JOY +HONOR
 IS
A GOSPEL SONG OF HALLELUJAH.

 

 

YOU SEE ME.
ANAM CARA.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The words Anam Cara are Celtic for “friend of my soul”
and
represent rare friendships that transcend time and distance. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

THE CHANDELIER DRAWINGS  2006  CATHERINE L. JOHNSON; CATHERINE L. JOHNSON;THE CHANDELIER DRAWINGS CATHERINE L. JOHNSON 2006
THANK YOU.

THANK YOU.

THANK YOU.

JANET DIRKS.

 

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The_Chandelier_ Drawings_Catherine_L. Johnson_2006_side

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Catherine L. Johnson
 
The Chandelier Drawings  2006
Mixed Media on 100% rag paper, mounted on frame
24 1/4″ H x 19 1/4″ W x 1 3/4″ D
Catherine,
 
Good afternoon. 
 
My response to the two pieces:
The Chandelier Drawings  2006 
and
he Pine Tree: BODY & SOUL  2011
 on exhibition at the Prøve Gallery is two-fold.
 Of the framed work- Pine Tree: BODY & SOUL, 
it occurred to me to consider the piece as one of a series. 
As a stand-alone, its graphics dominate. 
As part of a group or series, other factors such as movement and time would come in to play. 
The Chandelier Drawing, in accompaniment,  suggests an intentional duality,
 which again refer back to the graphics such as intricate lines 
and
 their spacial proximities, 
as well as
 solid singularity vs the verge of dissembling form. 
 
In particular the pairing struck me as an illumination of  the kinds of forces that exist below the acumen of the eye. 
The appearance of solidity at a distance (represented by the Pine Tree: BODY & SOUL)), 
while in fact multi-dimentional forces 
within a motion/time period 
(represented by the Chandelier Drawing) are acting upon matter
, vibrating too quickly 
for the brain
 to perceive. 
 
That being the case, my read is that the nervous surface
 and 
vibrational rendering of the ‘The Chandelier Drawings’ 
(or what I would rather think of as a ‘fixture of light’ in space), 
is more a matter of an encounter of forces 
than a representation of an object per se.
 
As for my response to the materiality of the two works. 
Clearly the framed PIne Tree: BODY & SOUL is reasonably conventional 
in its construction and presentation, 
whereas  The Chndelier Drawings is riskier,
 more temporal, 
and
 more organic, 
thus appearing to be more invested
 and
 emotional.
 
Best,
 
Ken Bloom
 
Director of the Tweed Art Museum

 

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CATHERINE L. JOHNSON

ARTIST SONIC / VISUAL COEUR POET / WRITER SEE/SEA BEAUTY DETECTIVEPRIEST / ACTIVIST/ SACRED TRUTH-TELLING INTEGRITY RADIANCE

CATHERINE L. JOHNSON

ARTIST SONIC / VISUAL COEUR POET / WRITER SEE/SEA BEAUTY DETECTIVEPRIEST / ACTIVIST/ SACRED TRUTH-TELLING INTEGRITY RADIANCE