This is a 36′X48″ acrylic and organic matter on canvas, mounted on stretcher bars. This image is the truest color. Painting available, $3000. Terms available to be discussed on request.
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
“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
Night Sky is a 60″x48″ painting which has a dual personality. When the lights are turned off, a starry universe appears in place of the painting’s illuminated realities. Unfortunately, this effect cannot be photographed; like many mysteries, it is elusive. I use this effect occasionally when it fits with the general trend of the piece. Collection of Mr. L. Niles Dolbeare, Richmond, CA USA.
Seeing a photo of this painting is a bit like looking at a picture of the sea. With wit and imagination, you can get the gist of the same, but you can’t get your feet wet.
“Life as we know it is the residue of millions of simple chemical reactions occurring for a brief period on a speck of rock revolving around a sphere of heat and light in a vast sky of galaxies, dark matter and complex processes — the very existence of all life on this planet is based on the presence here of H2O and carbon atoms.
“Such a daunting mountain of vastness. Such a sea of insignificance! In the face of this paralytic landscape of overwhelm, people developed art is the oldest and most universal of all of our tools. From earliest times, we danced, we drummed, we drew on the walls of our caves, we sat around fires and the corpses of our food, telling each other the stories of how we killed that wildebeast.
“Out of that compulsion, that need, that desperate and beautiful scream of “Let me keep this moment! I need to keep hold of this moment!” Out of this impulse, this beautiful shimmering fleeting collision of time and space, matter and energy — in its infinite heart and beauty, in its shape and color and form came that wonderful plea: “Oh, vast and glorious universe, please let me grab hold of this here nowness and keep it with me forever. Let me sing it let me dance it let me paint it let me turn it into a poem, beat it into the skin of a drum, but please please please infinite universe let me please just let me have this ….
“And from that deep yearning came the arts…..
“It is not only that art — both creating and participating in the arts — holds at bay the terror of realizing our insignificance in the vast scheme of things, but that when we are a part of art, whether we are dancing or singing or painting; whether wandering in the museum or listening to a symphony, we are not a part from but a part of and deeply connected to that infinite vast chaos and harmony.
Copyright 2012 by Grace Harwood. All rights reserved.
Shifts in perspective have always intrigued me, enhanced my experience and understanding, and in some inexplicable way, consoled me. This piece, 48″x36″ acrylic on canvas (Summer 2005), is deeply textural, and discusses “the view from above.” As is true of many of my pieces, it has more than one orientation. Marion Parmenter, again, said of this painting, “This is an absolutely extraordinary piece of work.” Collection of Barry Rosen, Berkeley, California, USA. Copyright Grace L. Harwood/Images of Amazing Grace. All rights reserved.