Liz Hawkes deNiord
C X Silver Gallery presents Liz Hawkes deNiord ‘Return As Ticket’ an exhibition paintings and clay works and a book launch.
- opening reception Friday September 29, 5:30-7:30pm
- Book launch, Liz Hawkes deNiord: Return As Ticket available to preview (gray ‘preview’ button just under the book cover image) and purchase.
- Artist Talk and Poetry Reading with Vermont Poet Laureate Chard deNiord Saturday November 11, 5:30-7:30pm
- Gallery hosting the show at 814 Western Avenue is open daily by appointment, calling ahead to arrange a visit (802) 257-7898.
- Closing Reception with Live Music, Sunday March 11, Sunday, 4-6pm.
Liz Hawkes-deNiord’s recent paintings record the distillation of memory, dream, allegory and emotion into impressions using paint and mixed media. Her large abstract works represent “reflective response to world events and personal reflections; they present a visual interpretation through vivid color. ” Hawkes deNiord studied fine arts and Asian studies in college and graduate work and developed her sometimes edgy, sometimes sublime painting style originally in oils and works now with viscous acrylics and metals. Additionally, she trained as a ceramicist and printmaker both of which, she admits, enter into the painting as “different ways of thinking”, effecting problem solving and paint application. The most difficult and exciting part of painting, she says, is paying attention to the inherent message developed in each work. In an attempt to understand conflicts and social issues experienced worldwide and as close to home as the classroom where she taught Art in Brattleboro, Hawkes deNiord, frequently journals and sketches her understanding or “art as archeology”, digging through using visual language to an abstracted painted image that she hopes transcends the object and translates one’s understanding of where we are now. “There is no, ‘This equals that’,” she says. “People come to these paintings and respond viscerally. That tells me something. Maybe the message comes through.” She shows her paintings regionally, in journals and they have been selected for use on several covers of books. For more on Liz Hawkes deNiord visit lizhawkesdeniord.com.
Written contributions in Liz Hawkes deNiord: Return As Ticket, in addition to Liz’ statement include Vermont Poet Laureate Chard deNiord’s poetry, and essays by Michele Burgess, Brian Cohen, Alice Fogel, and Bill Kelly. A sampling of what is in the book:
Layer by layer, she adds and subtracts, combining the material acts of carving and scumbling with the more ethereal gestures and filmy applications of her brush. This dance allows her to express the mercurial ranges of human emotion, free of the confines of the physical body, with tenderness and ferocity. Her paintings offer the viewer both freedom to roam and places to rest. … These paintings are created like relief sculptures, malleable surfaces seemingly free from the boundaries of the rectangle, and often, simultaneously, containing one or more bounded shapes. Her pictures become energy fields—cradling, swallowing, buffeting, or synchronizing with smaller, hard-edged forms, guided by her intuition. DeNiord’s geometric figures coexist in this charged and ambiguous space or some are caught in a state of solitude and contemplation, free to be occupied as they wish. Her personalized abstraction gives them a timeless, universal quality.
– Michele Burgess
Her corporeal gestures hit us not only as color and texture, but as a physical sensation. They take us below the surface of the canvas and beyond the face of the frame. … These paintings are both journey and return. There are tremendous energy and movement here, intense conversations between colors and the inarticulate, between shapes and the emotions. As they seem to move in space, we are moved. As they encounter chance and choice, we encounter them. Engaging with these abstract visions, we too may be broken open and left horizonless, and that is where we’ll see a path, a portal, the ticket we might never have otherwise found.
– Alice B. Fogel
Nor does Liz ease her way in tentatively; she works with the full potential of means at hand — the thick substance of undiluted paint and the maximum intensity of saturated color. Her surfaces are heavily worked, but not fussy or labored, and retain a lightness that belies the density of paint, variety of marks, and intensity of work behind them. It is remarkable that expression as fine-tuned, as nuanced, as suggestive, emerges from such maximal means. She is a master of making substance immaterial. … Liz’s painting is most fully considered alongside her ceramics, and the CX Silver exhibit presents both. In her two- and three-dimensional work she begins with a physical impulse that grows and ramifies into space and finds concrete form and texture. Ceramic glaze is applied with the same brush quality as the paintings, running, pooling, and melting over forms. Her ceramics share the sense of movement and release with her paintings, as well as the layering, variation, and accretion on simple shapes.
– Brian D. Cohen
She pushes her paint—erases, scratches, layers, constructs, and muses on her attempts. Colors play, at times, deceive, search for balance, and importantly, create a sense of dynamic physical involvement. This physicality is an emotive approach that uses the hand, the knife, and the brush, in dialogue with the realms of her senses. She pushes her surfaces… This pushing and pulling of the surface’s light and weight link to the years deNiord has shaped three-dimensional forms. Now, much of her time is spent shaping her paintings with an ever expanding palette of concerns.
– Bill Kelly