Elizabeth Sandvig‘s paintings have a willfully awkward quality, an insistence on the particularity of their visual experience. From her you’ll never see the sort of polish that takes the edge off everything and calls attention to the intricacy of its smooth and flawless design.
She favors the raw over the cooked, the crooked over the straight and the fantastic over the factual.
Sonogram of the Blue Jay Monoprint, 2005, 12 x 10 3/4 inches.
Although her paintings often have an odd and weightless delicacy, they are never finished to the point of refinement but seem instead to have been pulled into view, dirt still clinging to their colored roots.
Off and on for nearly a decade, she has painted birds surrounded by the visual equivalent of their song. No one else has brought melodious plots to life by means of oil paint on canvas and monoprint on paper. (more)
Sandvig is one of the artists featured in the first part of a homage to her dealer, Francine Seders. At 76, Seders has been at the helm of one of the best galleries in the region since 1966, focusing on painting.
Part one runs through Jan. 10 at the gallery and features, besides Sandvig, Jacqueline Barnett, Dina Barzel, Dina Bolinger, Alfonse Borysewicz, Jeffery Burgert, Dan Carmichael, Lauri Chambers, Caryn Friedlander, Emily Gherard, Jon Gierlich, Philip Govedare, Juliana Heyne, Anne Hirondelle, Denzil Hurley, Robert Jones, Diann Knezovich, David Kuraoka, Spike Mafford, Merle Martinson, Robert Mirenzi, Ben Frank Moss, Joanne Pavlak, Julie Shapiro, Michael Spafford, Margaret Watson, Guy Anderson, Michael Dailey and Boyer Gonzales.
Part 2 runs Jan. 15 to Feb. 14
Leave a Reply