t’ Alyne

As a small girl growing up in Michigan, I was fascinated by close-up inspections of such commonplace stuff as rocks, puddles, and trees. They provided private little worlds for the imagination that, like certain special toys, were all and only mine. The movement of light playing across these surfaces, filtering through clouds, bouncing off water, expressing the time of day, the season, and the weather changed my point of view. Seeing light filter through the canopy reminds me of riding high on the shoulders of my grandfather through the woods. I believe to deal with serious art requires a certain preparation of the mind, a relaxed synthesis whereby the mind comes into contact with the body. Where the rejuvenation of sight and thought is required to pull the act of perception into the sensorium of feeling.

I observe, study, and explore color, drying times, work methods, and building techniques of my local surroundings. Currently, I am exploring these ideas through my series of projects, ‘InterAct’, in which I focus on the effects of surface and structure where light provides the means of shaping our discernment of space.
My work focuses on the importance of mark making where various physical elements connect and how this establishes relationships and bridges between our understanding of environment and self. I am currently exploring these ideas in both two-dimension and three-dimension through my paintings and sculptures. I am fascinated by how movement through, across, and between these spaces can influence and guide my art-making decisions.

Light awakens a correlating physical sensation, that which makes me aware of my body in motion. I believe the intensity of color creates momentary superficial impressions on a cognitive level. The works I create interact are objects gathered, experiments in form, and explorations of space. I apply my artistic background, insight, experience and creative works to interweave and encourage interactions, exchanges, and collaboration on local, national, and international levels.
About “Over the river and through the woods”
In Japan, monasteries were meeting places for artists, nobles, merchants, and tea masters. Japanese paintings in the form of fusuma or sliding panels were integral to their architectural setting to display naturalistic panorama and an admiration of natural beauty and an affinity for the supernatural. The physical movement of these Fusuma reflected movement through space and time as conveyed by the changing seasons or a shift from daylight to moonlight. The taste exhibited in the temples interior was symbolic of the mutual dependence of Zen monks and their samurai patrons, the former seeking support and the latter cultural enlightenment.

Over the river and through the woods are mounted in welded steel frames that serve as interchangeable parts of a sliding panel assembly. The interactive movement of each panel creates new compositional relationships and redefines the role of the viewer to participant.

Engaging physical movement establishes a relationship through, across, and between the surrounding space affirming our natural link with the rhythms of light and shadow. The action of light passing through the material of each panel emphasizes closer inspection of both the surface and architectural space created therein. Movement through and between each space is essential for the understanding of form and structure that colour and light reinforce.

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