Vibrational Pull - Now Representing Audra Weaser
In Audra Weaser’s works on panel, rhythmic oscillations are built through layers of color that mimic the play of shadow and light. The works force us to take notice of nuance of form as the compositions emerge as organic manifestations on the surface of the panels. Evoking the tradition of female AbEx painters, Weaser utilizes the familiar visual reference of the landscape as a vehicle for experimenting with the painting medium, as well as exploring various processes in nature.
Soft hues and dense compositions present a rarefied view into a primordial landscape that is both raw and emotive. There is a wavering intensity to the colors and patterns as they dissolve and merge, creating a trance-like composition of interconnected elements. Calm and centered, the paintings evoke the cyclical nature of life, the steady rhythms and small variations of a balanced microcosm. Weaser’s handling of medium enforces a sense of aquatic calm through a smooth sanded surface and evenness of form.
As in a body of water, the horizon line in each work serves as a point of reflection, creating two mirrored halves that at times seem to recede into the distance. Ripples, or variations in form, provide the idea of tension or motion of some kind of vibration or pull on the surface. As in Hockney’s famous Splash series, this disturbance is the only indication of interference by human or other means. There is a potential of stored energy in the works, the idea of equilibrium or a systematic balancing of opposing forces that is hidden in plain sight. In mathematics after all, the surface of a body of water is an example of continuity, a system that in the classical limit has an infinite number of modes, continuing in perpetuity. This push and pull is reflected poetically in Weaser’s sanding down of the painted surface, as she transforms the landscape by excavation, finding the final form beneath the layers within.