Mary H. Case

In 2013 I began working on a series of blurred paintings called 20/20.  In my painting process I discovered the drawings and under paintings were interesting in their own right.  Under my final blurred works was a “secret” painting that lead to another series of crisp clear edges. I have always been attracted to the organic forms in nature in vegetation like forests and also the organic edges where land and water meet.

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The natural world draws us in using its power as the ultimate architect and authority of design. In using a traditional grid transfer technique I discovered another layer that was appealing so incorporated it. The first work was a combination of two grids; one placed correctly and one by mistake. The grid was meant to be the base for a painting but became a more prominent element. It has the feel of graph paper and blueprint lines architects use.

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There is no better way to learn to use your "art eye" than by drawing.  It is a catalyst in the process of alchemy...transmitting a common visual substance of little value into a substance of greater value. When the eye is working well these wanderings are fresh and spontaneous.  Some are a combination of gesture and contour with value study.  When using sepia ink I get the warmth from the tone and the dried puddles lend spontaneity.  The pen brings back some control. 

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This body of work started with a personal art challenge to see how little information I could present but still recognize the person. It in turn evokes thoughts of the first impressions we form of people sometimes quickly.

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