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Friday, January 13, 2017

GRACE VISITS: CICELY COTTINGHAM 12/29/16

I am privileged to have had the opportunity to visit with Cicely Cottingham and write about her artwork for Women's Voices For Change.
Here is a link to the article: Please comment on the Women's Voices For Change site if you wish. Enjoy!

Women's Voice For Change Article
https://womensvoicesforchange.org/grace-visits-artist-cicely-cunningham.htm

Cicely Cottingham Website

More images in the order that they are mentioned in the article: CLICK ON IMAGES and THEY ENLARGE

PHOTO OF CICELY - DETAIL IN FRONT OF PAINTINGS IN STUDIO

SOMBRE STRETCH, 26”x80”, charcoal with pastel on paper, 1984 


WINTER MOON, 30”x22 1/2 “, charcoal on paper, 1984

NIGHT TREES 4, 30”x22 1/2 “, charcoal on paper, 1987

WHEN YOU DREAM YOU’RE INNOCENT, YOU’RE INNOCENT WHEN YOU DREAM (FROM A SONG BY TOM WAITS), 8”x10”, oil on wood, 1987/88

THROB, 8”x10”, oil on wood, 1988




SHE WAS AS A TREE AGAINST A CLOUD OF VAPOR, 15”x11” ea. panel (4 panels), oil on wood, 1990 

THE PREMONITION, 24”x18” ea. panel (4 panels), 1992

TRUE BLUE CONTINUED #6, 64”x48”, oil on wood panel, 1998



16 PAINTINGS FOR MARJORIE (GONE), 64”x48”, acrylic on wood panels, 2000/2003



16 PAINTINGS FOR MARJORIE (MARJORIE’S GARDEN), 64”x48”, acrylic on wood panels, 2000/2003

Now you feel how nothing clings to you (raw and tender), 15”x11”, Oil stick on wood panel, 2011



Now you feel how nothing clings to you (Kaieteur), 16”x12”, Acrylic on panel, 2012


EVERYTHING IS SKY (here is your home), 20”x16”, Acrylic on panel, 2014

5 comments:

  1. Thank you so much for this introduction to this artist's gorgeous work. I want to touch her paintings, particularly True Blue #6. So tactile and rich. Her charcoal of the moonlight on the trees is another favorite. I'm off to visit her website to see more!

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    Replies
    1. I personally love True Blue # 6....Thanks Lisa.

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    2. I remember the charcoal drawings like Film Noir,feeling the need to look over my shoulder as the light disappears. "Throb" is another jolt of memory having seen it many years ago in Cecily's studio. Her work as an emotional landscape is somehow very satisfying, open not closed. "Now you feel how nothing clings to you" becomes a clearing in the wood.

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