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Pierre Bonnard once wrote, "I float between intimism and decoration." In figurative painting, a painter often delves into a highly personal subject, channeling the intimacy between painter and perceptual experience. Expressing this intimacy, we become entranced with the materials and their decorative qualities. Decoration stems from the the Latin "decoratus," which in the 16th century meant "to grace or honor." This is implied in painting through a transcendent process of expression through color, light and surface. In these paintings, all three artists embody this liminal stage that exists between intimacy and decoration.
Ansley Adams works from her own home's interiors, embodying the warmth and familiarity we encounter within our own spaces. The small scale of her work presents a very precious experience for the viewer. The warm temperatures of her palette and the buttery application of the paint suggest a coziness and comfort.
Jaime Misenheimer is extremely attentive to the structure and design of her large scale work. She draws from literature and her own personal experiences to influence an emerging narrative. She relies heavily on a distinct shape organization and a very subtle but complex color palette.
Laurel Steckel looks to the people in her life when developing her paintings. Her relationships with them are implicit in creating the work. Concerned with the transitory life of young adults, she embeds her figures into their temporary domestic spaces, and then transforms the space through highly saturated color and patterning. The paintings function both as a quiet portraiture and an exciting, decorative tapestry.
"Green Rug," Adams
"Yellow Room," Adams
"Barnabas," Misenheimer
"Italian Interior," Misenheimer
"Jaime with Coffee," Steckel
"Kevin in his Kitchen," Steckel
