Celmins received international attention early on for her renditions of natural scenes—often copied from photographs that lack a point of reference, horizon, or discernable depth of field. Armed with a nuanced palette of blacks and grays, Celmins renders these limitless spaces—seascapes, night skies, and the barren desert floor—with an uncanny accuracy, working for months on a single image. Celmins has a highly attuned sense for organic detail and the elegance of imperfection. One series of works take as their subject delicate spider webs.Celmins at the Hammer Museum (drawings)
My paintings either start as images I have seen in photographs or things that I have photographed. I then might make a drawing with oil paint from the photo. The photographic element is usually only a part of the composition - something that involves perspective or dimension for which I need a reference; something that is distorted maybe and would be unbelievable if drawn straight out of my head. Having said this, I have been trying to get away from the photograph and use drawings or memory as a start.
|Andrew Wyeth detail|
|American Society of Botanical Artists|