In this body of work, painted mostly in 2017, I am working with integrating an abstract, linear background with the figure. I’m also adding linear elements that interrupt the figure, often overlapping as a way of joining the figurative image to the pictorial composition as a whole. This adds to the sense of movement, one moment cascading into the next. In this way I am hoping to capture an expanse of time as the figure moves through space.
Sandra Speidel begins with an infallible grasp of the complexity and beauty of human anatomy, sometimes evidenced directly with a recognizable figure such as a swimmer, a man traveling through an airport, or a dancer, and other times with the fleeting capture of a poised head, a curved arm or hands in motion. She expands with colors which demand reaction to a mood or mindset, sometimes wondrous light evoking ethereal dreams, other times darker palettes hinting at doubt, somber reflection or simply momentary indecision. Nothing in her work is static nor easily categorized, though she obviously employs the painter’s tools of contrast, balance and form in what can be loosely termed figurative art. She does not simply paint but rather captures the impermanence of life fully lived and constantly evolving.
Diane Weddington has been an art critic for newspapers in the Bay Area for 30 years. She presently writes commentaries for Medium.