Barbara Grossman’s paintings and oil stick drawings depict the interplay of women in interiors. They are characterized by intense color, multiple patterns and dynamic spaces which are simultaneously deep and shallow. She is deeply involved in the tension between the dynamics of the luminosity of color and the folding and torque of space that observation and experience reveals. Each configuration is a renewed exploration of the visual language. There is an underlying narrative which the viewer is at liberty to determine.
Grossman has shown extensively in the United States and was a member of the Bowery Gallery in New York for 37 years. She recently had a show at the Alexandre Hogue Gallery at Tulsa University. A survey of her work traveled from Wright State University, to Lafayette College, to Washington and Lee and to the New York Studio School. In 2009 she exhibited at Rider University, and in a show, “Better Than Ever’ at Long Island University, The Dishman Museum in Texas and Rowan University, N.J. In the fall of 2010 she had a show at Gross McCleaf Gallery in Philadelphia. PA. She has also shown in numerous group shows in museums and other venues across the country. Grossman has been a recipient of a Fulbright Fellowship, an Ingram Merrill Grant, two Connecticut Commission on the Arts Grants and several major awards from the National Academy of Design of which she is a member. Her work
is in numerous private and public collections.
Barbara Grossman has been a visiting artist and critic at Boston University, American University, Brandeis, Dartmouth, Vermont Studio Center, Chautauqua School of Art. Mt. Gretna School of Art and many others. She has taught at University of Pennsylvania, Western Connecticut State University and most recently was on the faculty of the Yale School of Art. Barbara was born and raised in New York City. She currently lives and works in New Rochelle, NY.
The exhibition Geometric Explorations features sculpture and animation all based on a particular geometric system. But while the system is rigorously applied to all the work, in most cases it is sensed as an underlying order rather than readily observed. It is hoped that the viewer will find that far from imposing constraining limitations, the geometry grounds what sometimes appears to be almost free-form play.
East Gallery : FPG Incubator Artists Curated by : Karl Goulet
Energy and gesture caught in a freeze frame. Encased in a world of high contrast, working in a pallet of ivory and obsidian. The two of them, my dogs, burst through the doors at speeds I can’t even fathom. They‘re a whirlwind of pure muscle and teeth, ripping through the yard tearing up everything in their path. Truly they’re a force of nature. Two beings fighting or dominance and yet somehow they just play coy. The white and black blurs, in the speeds that they travel appear to merge to become this one abstract form. This form is the basis, the beginning of my explorations. They are a fragmentation and sense of impermanence, a sway between isolation and communication; they are an inevitable human strategy I can’t ignore. They are layers of energy and gesture captured in this moment of time.
The moment of first awakening.
My eyes struggle to adjust to the room surrounding me. A pause.
Slowly and silently my eyes shift.
A memory confronts me.
Thoughts and conscious reactions to events, perceived as a continuous flow. The act in which we remember a moment or a feeling. The spaces I am depicting indicate a momentary pause in activity; on the brisk of pure stillness. Subtleties and remnants of people occupy these spaces in quiet movements that represent experiences of emotion.
The stillness of holding your breath. Natural repetition of blinking. Cold tile on bare feet. Being left still wondering. A nuance of consciousness.
My earliest memory is running between the rows of tomato plants in my grandfather’s garden. The plants were taller than me and the garden seemed never-ending; fleshy green leaves extended in every direction, their shadows cast on the ground below my feet. This memory becomes more vivid in time, while others fade or vanish completely.
There is a physical absence now where the garden once was. When I am making my work, I am present in the memory – running between the rows in the garden – again. It starts with noticing. Noticing quietly fading shadows. Noticing the crawling growth and somehow serene decay of flora. Noticing leaves cast away from a tree, no longer grounded.
I notice, and record. When I record, whether in drawing or in print, I create a memory of a particular place at a particular instant in time. My work gives permanence to an ephemeral moment in the face of its inherent impermanence. It allows the essence of that moment to exist in the present again as memory, despite the reality of its absence.
This is only the beginning of the journey from place to place. A connection found between identity, color, fabric, and figure, through the gender I relate so closely to.
I create discomfort in a comfortable environment to allow growth and change; to search for what I don’t already know. This allows me to embrace the differences between us, and the similarities we share as living beings.
As figures become lost in the flow of fabric, they merge into one despite a clear separation. This is an ongoing exploration, a process of discovery. In knowing where we came from, where we are going, and who we are now, we begin to create a transformation of self.
Without desperation, we ask for your attention. We stand confident behind our gaze with something to say. We are individuals through our experiences but each of our patterns intertwines. We create a fabric both separate and all together one.