Francie Hester

Strata 18-2, 2018, acrylic and wax on metal, sculptural piece, vivid patterns

2018

Crossing Lines The exhibition also includes Crossing Lines, a series created in collaboration with interdisciplinary artist Lisa Hill. This series draws on...

Crossing Lines The exhibition also includes Crossing Lines, a series created in collaboration with interdisciplinary artist Lisa Hill. This series draws on the literal and figurati...

Crossing Lines The exhibition also includes Crossing Lines, a series created in collaboration with interdisciplinary artist Lisa Hill. This series draws on the literal and figurati...

Crossing Lines The exhibition also includes Crossing Lines, a series created in collaboration with interdisciplinary artist Lisa Hill. This series draws on the literal and figurati...

Painter Francie Hester, born and raised in Columbus, Ohio, lives and works outside of Washington, DC. In 1999, Hester abandoned the traditional practice of painting on canvas to expl...

The exhibition also includes Crossing Lines, a series created in collaboration with interdisciplinary artist Lisa Hill. This series draws on the literal and...

Kinetic Minimalism of the Light “Rimele went even further; in his installations, he studied the laws of colour reflections and shadows with care and thus created magical new worlds in which materiality intertwines with their coloured shadowed dematerialisation.” Dr. Jure Mikuž December, 2012 (in the book Oto Rimele. Spirituality of Material Absence, p. 28) In the past tradition of painting, only the frontal parts of paintings were always the carriers of the content. I broke this millennial tradition and focused my attention on applying colour onto the edges and the back of the painting. These parts of my painting compositions are hidden from the viewer's eye and are visible only indirectly – as reflections of the paint reflecting onto the wall area, addressing the viewer with their immaterial presence. This creates coloured light and coloured shadows, which change in the intensity of the coloured radiation in daylight. A single painting composition, however, does not show just one static image, but addresses the viewer with a multitude of images generated by the changing daylight throughout the day. The attentive observer experiences such kinetic pictorial images personally and as a complete mental (spiritual) experience. In the paintings of past periods, light is depicted only indirectly – as an “illuminator” of the materiality of the pictorial motif. For me, light itself is the central motif of painting exploration. In my luminous painting objects, however, I do not depict light, but create it. It is an actual, present light that communicates with the viewer as a living, moving part of the artistic message. In the series of fourteen images entitled Light and Ladder...

Kinetic Minimalism of the Light “Rimele went even further; in his installations, he studied the laws of colour reflections and shadows with care and thus created magical new worlds in which materiality intertwines with their coloured shadowed dematerialisation.” Dr. Jure Mikuž December, 2012 (in the book Oto Rimele. Spirituality of Material Absence, p. 28) In the past tradition of painting, only the frontal parts of paintings were always the carriers of the content. I broke this millennial tradition and focused my attention on applying colour onto the edges and the back of the painting. These parts of my painting compositions are hidden from the viewer's eye and are visible only indirectly – as reflections of the paint reflecting onto the wall area, addressing the viewer with their immaterial presence. This creates coloured light and coloured shadows, which change in the intensity of the coloured radiation in daylight. A single painting composition, however, does not show just one static image, but addresses the viewer with a multitude of images generated by the changing daylight throughout the day. The attentive observer experiences such kinetic pictorial images personally and as a complete mental (spiritual) experience. In the paintings of past periods, light is depicted only indirectly – as an “illuminator” of the materiality of the pictorial motif. For me, light itself is the central motif of painting exploration. In my luminous painting objects, however, I do not depict light, but create it. It is an actual, present light that communicates with the viewer as a living, moving part of the artistic message. In the series of fourteen images entitled Light and Ladder...

Kinetic Minimalism of the Light “Rimele went even further; in his installations, he studied the laws of colour reflections and shadows with care and thus created magical new worlds in which materiality intertwines with their coloured shadowed dematerialisation.” Dr. Jure Mikuž December, 2012 (in the book Oto Rimele. Spirituality of Material Absence, p. 28) In the past tradition of painting, only the frontal parts of paintings were always the carriers of the content. I broke this millennial tradition and focused my attention on applying colour onto the edges and the back of the painting. These parts of my painting compositions are hidden from the viewer's eye and are visible only indirectly – as reflections of the paint reflecting onto the wall area, addressing the viewer with their immaterial presence. This creates coloured light and coloured shadows, which change in the intensity of the coloured radiation in daylight. A single painting composition, however, does not show just one static image, but addresses the viewer with a multitude of images generated by the changing daylight throughout the day. The attentive observer experiences such kinetic pictorial images personally and as a complete mental (spiritual) experience. In the paintings of past periods, light is depicted only indirectly – as an “illuminator” of the materiality of the pictorial motif. For me, light itself is the central motif of painting exploration. In my luminous painting objects, however, I do not depict light, but create it. It is an actual, present light that communicates with the viewer as a living, moving part of the artistic message. In the series of fourteen images entitled Light and Ladder...

Kinetic Minimalism of the Light “Rimele went even further; in his installations, he studied the laws of colour reflections and shadows with care and thus created magical new worlds in which materiality intertwines with their coloured shadowed dematerialisation.” Dr. Jure Mikuž December, 2012 (in the book Oto Rimele. Spirituality of Material Absence, p. 28) In the past tradition of painting, only the frontal parts of paintings were always the carriers of the content. I broke this millennial tradition and focused my attention on applying colour onto the edges and the back of the painting. These parts of my painting compositions are hidden from the viewer's eye and are visible only indirectly – as reflections of the paint reflecting onto the wall area, addressing the viewer with their immaterial presence. This creates coloured light and coloured shadows, which change in the intensity of the coloured radiation in daylight. A single painting composition, however, does not show just one static image, but addresses the viewer with a multitude of images generated by the changing daylight throughout the day. The attentive observer experiences such kinetic pictorial images personally and as a complete mental (spiritual) experience. In the paintings of past periods, light is depicted only indirectly – as an “illuminator” of the materiality of the pictorial motif. For me, light itself is the central motif of painting exploration. In my luminous painting objects, however, I do not depict light, but create it. It is an actual, present light that communicates with the viewer as a living, moving part of the artistic message. In the series of fourteen images entitled Light and Ladder...

Passages of red and silver in a combination of acrylic paint, marble dust, pigments and wax are balanced by shapes of grey and black in this abstract composition on canvas by Ivo Sto...

A unique, medium to large scale exotic landscape painting with vivid colours and details. The painting style shows influences from the post-impressionists and fauvists, yet is undeni...