The work in Defining Fields has a zen-like formal quality that stems from a hands-on working process. The simplicity of marks, shapes, and color create a quiet presence and belies the generous amount of time spent to create the tactile surfaces. They offer the viewer a chance to tune out and contemplate what is in front of them.
Elisa Soliven arranges pieces of colored ceramic into grid-like compositions embedded in sculptural clay vessels. The muted color of the clay forms embrace the separated pieces and hold them together creating a community of colored shapes that maintain an individual sovereignty.
Jimbo Blachly paints abstract spaces that are symbolic of thought processes and levels of understanding. These fields are made of cartoony graphic marks or dark spaces that grow lighter in areas as to offer a starting point to engage with. Activated by larger lines that reference sticks, barriers, and gates these abstracted frames invite as well as target parts of the field that he describes as a metaphor for how one views and interacts with the world.
Howard Smith applies marks with one or two colors creating a woven tactile surface that describes a human touch and offers layers of space. Fields of color provide an experience of breathing, meditation and letting go of your conscious self.