| Gwendolyn Kerber | |
BioBorn 1953 Cleveland, OhioEducation1984 M.F.A. Yale School of Art, New Haven, CT 1981 B.F.A. Cleveland Institute of Art, Cleveland, OH 1979 Skowhegan School of Painting and Sculpture, Skowhegan, ME 1975 B.A. Hampshire College, Amherst, MA Honors Awards Residencies2008 Dagaocun Art District Artist-in-Residence Programme, Beijing, China 1979 Gund Scholarship to the Skowhegan School of Painting and Sculpture 1974 Carnegie Women and Career Options Grant Teaching1998 - 2003 Adjunct Instructor, Bucks County Community College, Newtown, PA 1991 - 1995 Instructor, Bucks County Community College, Newtown, PA 1990 - 1991 Visiting Assistant Professor, Trinity College, Hartford, CT 1989 - 1990 Adjunct Lecturer, University of Connecticut, Storrs, CT 1988 - 1989 Adjunct Instructor, Pratt Institute, Brooklyn, NY 1988 - 1988 Visiting Assistant Professor, Trinity College, Hartford, CT 1986 - 1987 Adjunct Instructor, Pratt Institute, Brooklyn, NY 1984 - 1987 Instructor, Silvermine Guild School of the Arts, New Canaan, CT Lives and works in Berlin, Germany and Newtown, Pennsylvania.Artist's StatementMy paintings are built of color and mark. Palpable, visceral, sensuous color; color creating spaces, light, darkness, density, openness. They are also about the mark of the paint; thick and moving slowly, thin like a veil, small, fast, shiny, matte, on top of, behind. As Josef Albers taught everyone, color cannot exist in isolation. It is created by its interaction with other colors. Sometimes it is just the smallest difference in hue or value or intensity that will allow two colors to suddenly work together to create depth, temperature, transparency, luminosity; or at least to co-exist without destroying each other. If art reflects a world view, and I think it does whether we plan it to or not, then this is a reflection of mine. The process of making these many color adjustments until things that did not work together, do work together is an exercise in observing with an open mind. And echoes the belief that we are interdependent with each other. At the same time, the paintings reference things in the natural world that I particularly love; twigs and branches picking up light on a winter morning, yellow foliage on a warm September afternoon, the busy world in the water of a pond. At the beginning of the 21st Century our understanding of landscape, even the landscape of our own bodies, is overwhelmingly one of systems. A thousand systems all interacting all of the time. In the paintings it is an ecology of color and marks. A thousand small visual triggers create illusions of space, light, temperature, movement, setting off memories and associations. Finally, I confess I am very interested in beauty. There is nothing ironic about the paintings. |
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| GWENDOLYN KERBER | |