Elizabeth Slayton Touch of Light

ON EXHIBIT: June 21, 2017 –July 16, 2017

ARTIST'S RECEPTION: July 9, 2017 3:00pm – 5:00pm

Capturing the very essence - the inner form and light - of natural objects such as apples, onions or magnolia blossoms, these hyper-realistic still lifes offer deeply intimate portraits of their inanimate subjects.

Above:
Magnolia
Elizabeth Slayton [oil on canvas]

About the Exhibit and Artist:

Touch of Light” is an elegant series of still life paintings by Elizabeth Slayton. Capturing the very essence - the inner form and light - of natural objects such as apples, onions or magnolia blossoms, these hyper-realistic still lifes offer deeply intimate portraits of their inanimate subjects.

Oil painter Elizabeth Slayton attended the Boston Museum School of Fine Arts, Penn State University and Massachusetts College of Art. She has been painting and exhibiting for more than 35 years, showing in solo and group shows throughout the US and abroad. Her paintings are included in private and corporate collections. "What is it to stand in front of a pear and feel its golden roundness swelling in your own body, sense the exuberance of green apples and catch their scent, confront the monumental nature of the humble onion that has, after all, only a papery thin skin? Looking at Elizabeth Slayton's paintings we forget where we end and they begin." (Barbara Houston) "Slayton’s work exists in an intensified field of presence. It carries a direct transmission of cellular awareness." (Lisa Lancaster)

Artist Statement:

“In the last several years I have been painting large scale, non-traditional, realistic still life in oil on canvas. In this work, I have been interested in evoking the is-ness of things, the simplicity of things as they are in their particularity. I have been drawn to details, to roundness and volume, to aliveness, luminosity, stillness and clarity. In these paintings, the objects have expanded beyond the edges of the canvas. This up-closeness creates a sense of immediacy, intimacy and participation, a sense of being here, in the moment, without reservation.

Moving closer, in particular to the onion, I have discovered another world of image and composition and design. A crack in the skin, or the lines of veins, or a sudden emerging of color below the skin begin to suggest different layers of meaning. To the viewer it becomes less clear what it is that one is seeing and invites a different kind of looking. It takes one beyond the familiar, beyond the limits of our ordinary way of knowing things and into more imagination. An interplay begins to happen between the microcosm and the macrocosm -- as I move into smaller and smaller sections, the images expand out into greater and greater spaces.

I then explored a new direction while continuing to be interested in space, luminosity and aliveness. I worked on canvases where I created a raised, rough white surface which surrounds an embedded iridescent shape. One might associate these shapes to rivers, or pathways, stems, or bones, all of which are vessels of movement, life force or vital energy. Moving closer and closer to the object has now taken the work beneath the surface and into an interiority of aliveness. No longer viewing the object (one manifestation of a life form) from the outside, this new work explores the inner movement of the life force itself, the vital energy that underlies manifestation. The outside appearance is no longer the referent for the work, but rather, the referent has become an intuitive awareness of inner aliveness. The last two years I have been painting magnolia blossoms and gingko leaves, a new expression of the unfolding of light.” (Elizabeth Slayton)

Elizabeth Slayton
Above:
Two Yellow Pears
Elizabeth Slayton [oil on canvas]

Elizabeth Slayton
Above:
Onion
Elizabeth Slayton [oil on canvas]

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