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Caroline Anderson
Page 1 | 2 | 3 | Biography
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image 1
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When you look at one of these paintings you see a modified tippy grid filled with lots of thick texture, patterns and color, perhaps reminiscent of quilts or tapestries. The paint is built up in such a way that you see all of the layers at once (12 layers? more?) and the effect isn't unlike Seurat's color dot paintings or a pixel image where close inspection reveals that the colors viewed from a distance are actually made up of many colors in an optical mixture.
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image 2
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The grid can represent old-time, pre-digital craft such as tapestry or quilt making. Or, the grid can represent a digital age interface. Each section is full of information, and you can dig as deeply as you want into it. Adjacent sections relate to each other in an abstract or symbolic language.
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image 4
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surface detail
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image 6
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The paintings represent (to me) a mashup of the way I live: I’m hurled by timing of birth into the digital world but I hang on as a personal necessity to the old craft tradition of making stuff.
It's important to me that the work can't be adequately reproduced on the computer screen. My paintings have a sculptural presence that can't be reproduced on an ink jet printer: the real experience of seeing them in space is very different from the virtual experience.
The distinction is important because I want painting to still be necessary in a way that isn't subsumed by technology. I like technology, in fact I am a professor in an interactive media design program in Chicago. It's just that technology doesn't fulfill all of our human desires: to touch, to perceive, to have a real experience as opposed to a "reality show" experience.
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image 3
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image descriptions
1. A Short Story, 24" x 24", acrylic on panel, 2007
2. TV Snowstorm, 12" x 12", acrylic on panel, 2008
3. Strong Connection, 24" x 24", acrylic on panel, 2007
4. Square Window, 12" x 12", acrylic on panel, 2008
5. detail of painting surface
6. Building Blocks, 24" x 24", acrylic on panel, 2007
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