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VICTORIA WEBB
b. Washington, DC

I would love to hear from you. contact: vic@furiousdreams.com

“One by one, million by million, in the prescience of dawn, every leaf in that part of the world was moved.” –James Agee

The paintings of the last decade have been informed by my interest in a specific place. Whether the view is a bowl of tomatoes on a kitchen table, botanical gardens or a wild coast from the top of a mountain, my focus is the natural world and a highly personalized response to it. I am investigating abstract expressionism and the simultaneous process of control and non-control.

My love of and early background in music contributes to the juxtaposition of varying rhythms in the compositions – my preference for heightened chroma combines with the force of place.

David Abram suggests in his book, The Spell of the Sensuous, that “as the technology of writing…spreads through a previously oral culture, the felt power and personality of particular places begins to fade.” We can read these written stories anywhere, losing the original connection and primal energy to sites where they took place. In contrast, my task is to transpose that highly visceral involvement with nature and color into an abstraction that can be offered as a universal visual experience. How does place speak to us – and how do I as the painter communicate my response to this deep and fragile bond?

During my adult years, I lived in Canada (Nova Scotia, Toronto), Atlanta, San Francisco, the Midwest, southeastern Pennsylvania and have recently  moved back to Atlanta. My landscape work concentrates on the regions near my homes, and also includes paintings and sketches begun on vacations to rugged terrain like the mountains of British Columbia, the coast of Oregon and Vancouver Island.

Living in Canada for four years in my early 20′s offered a perspective on rural life in an untouched landscape and put me in touch with the Group of Seven and Emily Carr, early influences.

Press:

The Woodmere Museum. Contemporary Voices, 69th Annual Juried Exhibition with Susan Lewis, arts and culture reporter for WRTI. (audio)

Philadelphia Inquirer 2007
by Inquirer art critic Victoria Donohoe

Steve Dollar
NYC-based cultural critic

WEEKEND: VISUAL ARTS 2004
By JULIE YORK COPPENS
South Bend Tribune Staff Writer

Diem, BDA’s Journal Fall 1997
‘The Fine Line’, by Rebecca Barnes.

Art Papers, Jan/Feb 1989
‘Nepenthe’, review of Callanwolde show by Paul Evans

Art Papers, May/June 1987
‘State of the Art/Art of the State’, review of Nexus Biennale by Alan Sondheim

Art Papers, Nov/Dec 1986
‘Cutting Them off at the Pass/Experiments, Diversions and Lies’, review of
Mattress Factory Show.

I spent 26 years working in broadcast television at production/design houses, networks and startups as first a designer/animator and later, design director.  I made a mid-career switch to the non-profit sector, where my skills and passion for the environmental and local food movements included working with the Civic Alliance for South Bend, Indiana’s 20 year City Plan, the Chester County Task Force to curb greenhouse gas production, and coordination for a local farm internship program in southeastern PA.

Here in Atlanta I’ve worked with a grass-roots group focused on smart urban growth; Good Growth Dekalb. The group was recognized by House Representative Karla Drenner for contributing to the sustainability of the community in her 2012 resolution.

 

 

 

Sonnet LIV, from One Hundred Love Sonnets by Pablo Neruda, translated by Stephen Tapscott

Luminous mind, bright devil
of absolute clusterings, of the upright noon—:
here we are at last, alone, without loneliness,
far from the savage city’s delirium.

Just as a pure line describes the dove’s curve,
as the fire honors and nourishes peace,
so you and I made this heavenly outcome.
The mind and love live naked in this house.

Furious dreams, rivers of bitter certainty,
decisions harder than the dreams of a hammer
flowed into the lovers’ double cup,

until those twins were lifted into balance
on the scale: the mind and love, like two wings.
—So this transparency was built.