Spokes on a Wheel

“In Search of the Sacred Path”

Throughout my professional life as an artist my interests have gone in several distinguishing directions, somewhat like spokes on a wheel.   As the artist, to me they all relate and always have.    In the 1980’s I created pastel paintings of  very minimal suburbanesque architectural themes drenched in Southern California light.   At  the same time I was obssessed with pattern, dramatic surface building through mixed media that were pure abstractions.   Concurrently I developed series based on psychological themes surrounding what was going on in my personal life through simple iconography.     It was on retrospect that I realized I had been continuing to work within these themes and constructs with varying media and processes over the course of the last thirty years.   Spokes on a Wheel.

Within the last decade  I have been actively developing my landscape/architectural paintings that are set within a psychological framework.   Simultaneously, and perhaps more currently I have  returned with vigor to abstractions on nature.     This body of work, by design is deliberate and contemplative.   Recently I was interviewed by writer Jason Marak,  Art Beat writer for The North Coast Journal for  an article titled “Different But Not”  where I discussed the history and core nature of the work.      I have a full body of work of these abstractions being shown together for the first time that include pastels and some prints as well as a suite of oils/charcoal on canvas.    The show is at Plaza, Arcata through February with an opening reception tonight  January 11, from 6 to 9 during Arts Arcata!     Whereas the representational work evokes a psychological landscape for me, the abstractions, or deconstructions, allow me to let go of those burdens, as interesting as they can be and float within the spiritual, visual and philosophical space of ideas and marks and color and light.    They are about allowing the purely intuitive to stage the course of action.  I imagine the process of creating these as a bit like a piece of the collective subconscious sketching the ideas of what nature would become.   With the ending of the Mayan calendar and the planetary alignment that was 26,000 years in the making, these ideas interest me.   And again, like spokes on a wheel, they always return to the center.


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Victoria Ryan