by Claire Bateman
One of my current obsessions is finding ways to fuse the organic with the galactic in the framework of the microcosmic—thus, a series of abstract miniatures. Feel free to contact me through Weekly Hubris if you’re interested in purchasing or commissioning paintings.
GREENVILLE South Carolina—(Weekly Hubris)—6/27/11—“Small may be beautiful, but where abstract painting is concerned, it is rarely fashionable. Big has held center stage at least since Jackson Pollock; the small abstractions of painters like Myron Stout, Forrest Bess and Steve Wheeler are mostly relegated to the wings, there to be considered eccentric or overly precious. Paul Klee was arguably the last genius of small abstraction to be granted full-fledged membership in the Modernist canon.
But what is marginalized can also become a form of dissent, a way to counter the prevailing arguments and sidestep their pitfalls. It is hard, for example, to work small and indulge in the mind-boggling degree of spectacle that afflicts so much art today. In a time of glut and waste on every front, compression and economy have undeniable appeal. And if a great work of art is one that is essential in all its parts, that has nothing superfluous or that can be subtracted, working small may improve the odds.”
—from “Is Painting Small the Next Big Thing?” by Roberta Smith. (http://www.nytimes.com/2008/04/19/arts/design/19smal.html)