“States of Modern Life: Anxiety,” 40″x50″, acrylic on canvas. Copyright 2013 by Grace Harwood/Images of Amazing Grace. All rights reserved.
Collection of Jutta and Wayne Collins, Berkeley, California, USA. Copyright Grace L. Harwood/Images of Amazing Grace. All rights reserved.
Sometimes a painting just barges in and insists; this is such a one. 40″x30″ acrylic and organic matter on canvas. Collection of Jutta and Wayne Collins, Berkeley, California, USA. Copyright Grace L. Harwood/Images of Amazing Grace. All rights reserved.
Sometimes I really feel deep sadness when a painting is leaving for its new home. This one doesn’t photograph well because of the levels of interference color that shift during the day, making the painting dance with the light. It lives in Houston, with young people who love it. That’s taking the edge off the missing part. Collection of Christopher and Mary Elliott, Houston, TX USA. “Fingerpainting Memories,” 2011. Copyright 2011 by Grace L. Harwood, Images of Amazing Grace, Oakland, CA 94611
As well as the complete image, I have included a detail from this piece to magnify the faces which are embedded throughout. Our faces are a moveable feast, floating to the surface on the turn of an emotion. This painting holds many faces, many not seen, in the way that our personal face is lost in a crowd on the subway, or comes forward in love, in the seemingly random pattern that reflects the way we are seen by others. The painting is 20″x24″ acrylic on canvas (Winter 2011). Available for $1200 plus shipping/handling.
“Holy Wars: lavoro del cappelo/il lavoro del cuore,” is a painting from late winter 2010, 48″x36″ acrylic and organic matter on canvas. The engagement in working from original impulse or vision to the final statement over time while maintaining a primary connection with the deepest parts of oneself in spite of the relentless distractions of the outer world is the theme of this piece. It is available from the artist for $3,000 plus shipping/handling.
This is a roughly 36″x37″ acrylic painting on wooden panel, which I have included because the images show my use of interference colors to call forth the constantly transforming properties of visual light. After concentrated experimentation, after concentrated experimentation I feel I reached the balance of light and color I wanted to achieve. Collection of Neil and Dinese Sherer-Jacobson, Oakland, CA, USA.
Detail of ABALONE