Spielman uses oil paint on canvas, paper and panel in various sizes; she works on up to forty paintings at a time, moving between them as each begins to form, then isolating a work to bring to completion.
Her saturated surfaces are luminous, with alternate glossy and matte layers, but also bear rough nail marks that scar and deconstruct the work. These etched lines and marks relate to an image and idea, and are often the underlying structure, the submerged language of a work.
Her use of reds and pinks link to flesh and blood, and the pale creams, yellows and blues in her palette often recall bodily fluids, and the pulse of life.
As the title would suggest, this small work on paper is a deconstructed flower. Its apparent innocence should not be misinterpreted: darkness, as is often the case in Spielman's work, lies beneath the surface...
About Anya Spielman
Marrying a Pop art palette with tendencies derived from Color-field and action painting, Anya Spielman creates paintings that build on the legacies of postwar American art. A student of Wayne Thiebaud, Spielman similarly uses a bright, candy-colored palette of reds, pinks, and whites, though she does so to different ends than her famed instructor. Indebted to Abstract Expressionism, she allows her paint to bleed and drip and crafts solid fields of color against frenetic and aggressively painted whorls and splotches. For Spielman, the tensions in her work represent binary poles of experience: thoughts and feelings, expression and restraint, beauty and violence.
American, b. 1966, based in Laguna Beach, CA, United States