Julie Gross
contact@juliegross.net
www.juliegross.net
New York City, New York
contact@juliegross.net
www.juliegross.net
New York City, New York
| Ozone 32" x 32" oil on linen 2004 |
| Blue Tango 40" x 40" oil on linen 2005 |
| #71, 16" x 16" gouache on paper 2002 |
| #106, 15" x 15" gouache on paper 2006 |
| #89, 16" x 16" gouache on paper 2004 |
| Troppus 32" x 32" oil on linen 2007 |
Artist Statement:
Drawing precedes painting in my work.
Since 1998 I have been using compasses
to choreograph a network of circular forms,
originally based on a sine wave or 's'
curve. These play with my interest in
centrifugal/centripetal forces, in edges that
set up tension as well as flow. Symmetry
and other sets at times reference echo,
reflection and establish pattern. As forms
expand and contract, interconnect and vie
for dominance, the drawing serves as an
extension of my breath, setting up a kind of
dance that pulsates across the surface.
Circles remain or morph into other shapes
until an overall web of 'bubble slices'
exists.
In the paintings, these forms serve as
vessels for color. The painted surface is
precise and uninflected allowing spatial
interaction to reveal itself simply and
clearly, establishing a balance between
surface tension and movement. I am
compelled by the discrete relationships
that emerge from the interplay of color and
form, in a tense field where subject and
ground continually alternate. I want the
images to act as suspended, yet
connected slices of light, breathing, tense
and emergent.
Drawing precedes painting in my work.
Since 1998 I have been using compasses
to choreograph a network of circular forms,
originally based on a sine wave or 's'
curve. These play with my interest in
centrifugal/centripetal forces, in edges that
set up tension as well as flow. Symmetry
and other sets at times reference echo,
reflection and establish pattern. As forms
expand and contract, interconnect and vie
for dominance, the drawing serves as an
extension of my breath, setting up a kind of
dance that pulsates across the surface.
Circles remain or morph into other shapes
until an overall web of 'bubble slices'
exists.
In the paintings, these forms serve as
vessels for color. The painted surface is
precise and uninflected allowing spatial
interaction to reveal itself simply and
clearly, establishing a balance between
surface tension and movement. I am
compelled by the discrete relationships
that emerge from the interplay of color and
form, in a tense field where subject and
ground continually alternate. I want the
images to act as suspended, yet
connected slices of light, breathing, tense
and emergent.
