Looking with Eyes Closed

With eyes closed, surroundings disappear and voids with moving shifting colors come into view. It is this action that connects the mind to inner space. Closing ones eyes and looking within is advocated through different sects of science, religion, and mysticism as the catalyst for human advancement. Using this process as a point of departure, these paintings explore the natural abstraction of actual images seen with eyes closed.

Large canvases holding intense swirling compositions provide the platform for an enveloping effect when viewed at close proximity. Conceived by observing and recording naturally occurring "light" movements under the surface of my eyelids, these images transpire inner space to outer reality through the vocabulary of painting. Stretched canvases soaked in color facilitate the grounds on which additional hues aptly bleed and morph. The works are created quickly by way of ritualistic dance as means to propagate precision and intuitive decision processing, ultimately resulting in a transitive painterly meditation.

Light and dark formulate the basis for life on our planet, and metaphorically give rise to the topics concerning human morality. Dualistic ideologies lie at the core of the meaning behind "Looking with Eyes Closed," as they directly apply to the moralistic advancement of individuals within their respective societies. The process of calmly removing the mind from immediate circumstance, shifting to inner space, and letting go of the self-created image, or ego, encourages the conquering of negative influence and progressively propels the consciousness to enlightened states with concentration on love and positivity as the means for advancement.

Eyes Closed Gallery ©Elizabeth Fonacier 2013

Looking at the Sun with Eyes Closed I ©Elizabeth Fonacier 2013

Looking at the Sun with Eyes Closed II ©Elizabeth Fonacier 2013

Eyes Closed in the Dark II ©Elizabeth Fonacier 2013

On Van Gogh and de Kooning

Working on the series "Paintings" was coupled with deep research concentrated on de Kooning's philosophies as an artist, specifically the years he spent painting "Woman I." After nearly two years of work on the piece, de Kooning conclusively deemed the painting unsuccessful, abandoning it with trash in the hall of his building. Columbia professor Meyer Shapiro, known as a passionate admirer of Van Gogh and inspirational speaker, paid de Kooning an impromptu visit at just this time in his career. What they spoke of remains unknown, however, the words and thoughts exchanged had obvious influence on de Kooning. Afterward, he reassessed and finished "Woman I", in addition to numerous other "Woman" paintings, completing a series for exhibit at Sidney Janis Gallery.

This painting, titled "Vincent", is a metaphorical vision of Schapiro and de Kooning's conversation. The image was created by combining five different micro compositions of Van Gogh's painting "Olive Trees." Simultaneously representing possibility and diversified perspective, the work ultimately symbolizes the influence of conversation on artist and the capacity for artist to see work as successful.

Vincent, 2011, oil on canvas, 34" x 34", ©Elizabeth Fonacier 2013

On de Kooning

Woman in de Kooning's series represents the muse, the idol, and the goddess. Picasso, Ingres, Rubens, Rembrandt, and may great artist's carriers have been highlighted by their compelling representations of the female form. De Kooning used this history as grounds for his own experimentation with paint and abstraction, simultaneously expanding the history of woman as subject. My work lays bare both the weight of this history as a post-modern artist, and my feminine perspective of the masculine relationship to woman through art.

An influential piece to generations of artist, "Woman I" exhibits mesmerizing brush strokes unique to the capacity of oil paint. De Kooning was extraordinarily skilled in mixing oil paint with other media, and facilitating processes such as emulsion to enable his investigation of abstraction. Paintings in my series are enlarged micro compositions within the larger macro composition, Woman. Differing from de Kooning's painting process, my work facilitates the old master techniques of glazing. The resulting image gives rise to the illusion of brush stroke and thickness of paint.

Woman, as a subject throughout history, shows the reality of femininity in a patriarchal society. Woman painted by woman is a relatively new expansion of artistic expression, one in which these paintings on the theme of de Kooning find commonality. Woman and Man are equal parts of humanity, equally as human, and only idolized to the extent of our own beliefs. Looking to promote the deconstruction of patriarchy within art history, my work provides insight to inspiration sparked through a will for equilibrium and harmony.

Painting Gallery ©Elizabeth Fonacier 2013

Painting I ©Elizabeth Fonacier 2013

 Painting II ©Elizabeth Fonacier 2013

Painting III ©Elizabeth Fonacier 2013

Painting IV ©Elizabeth Fonacier 2013