Growing up in a Hindu based culture that has a profound respect for nature, I was never far from
having affection for a Divine Mother figure, Mother Nature if you will. Through this I experienced a constant wonderment about our natural world and it’s capabilities. Fascinated by these true universal laws, with a particular interest in the Fibonacci Sequence, I've begun to look at my own paintings as inhabiting similar structures of order.
Wonderment has led me to look into fractal structures like pine cones, seashells, and succulents because of the universality of their patterns. This sacred geometry that lays before me has become a journey of losing myself in the repetitive engagement of these forms. And it’s through embracing these patterns in a zen meditative way, similar to how Buddhist monks use sand mandalas as an experiential tool, that I experiment with breaking them down through layers of medium. Wood stain, charcoal, oils, acrylics, pastels and markers allow for many layers of excavating, uncovering, restoring, and building. I am constantly learning through a series of mirroring shapes and patterns to find a link between my meditation practice and my reverence for nature. Having the material act as an experiential tool, in Equanimity (BFA Exhibition, 2016) these sculptural paintings have transformed into gem-like treasures.
having affection for a Divine Mother figure, Mother Nature if you will. Through this I experienced a constant wonderment about our natural world and it’s capabilities. Fascinated by these true universal laws, with a particular interest in the Fibonacci Sequence, I've begun to look at my own paintings as inhabiting similar structures of order.
Wonderment has led me to look into fractal structures like pine cones, seashells, and succulents because of the universality of their patterns. This sacred geometry that lays before me has become a journey of losing myself in the repetitive engagement of these forms. And it’s through embracing these patterns in a zen meditative way, similar to how Buddhist monks use sand mandalas as an experiential tool, that I experiment with breaking them down through layers of medium. Wood stain, charcoal, oils, acrylics, pastels and markers allow for many layers of excavating, uncovering, restoring, and building. I am constantly learning through a series of mirroring shapes and patterns to find a link between my meditation practice and my reverence for nature. Having the material act as an experiential tool, in Equanimity (BFA Exhibition, 2016) these sculptural paintings have transformed into gem-like treasures.
all content © Emily Landress