Nancy Lu Rosenheim
My approach to imagery is corporeal. Humored by the responsiveness of voluptuous forms to the obstacles that violate them, I anthropomorphize my subjects to evoke a feeling of kinetic recognition. For example, a tree oozes over an iron fence like a belly overflows a belt. Soft swallows hard.
Like a cartoonist, I depict manifestations of force action and reaction. As if complicit, objects become verbs: skin recoils, flesh droops, vines choke and fungi cling; tree bark scars leaving crusty scabs, orifices pucker and engulf. Walking through the forest, my world is incarnate.
Valuing nature’s imperfection, my attempts to mimic it are deliberately crude. I prefer the micro-centricity of a thousand hatch marks to a single, sweeping brushstroke. Thus, I use labor-intensive practices to build form and embellish surfaces. I liken the painstaking handiwork of my craft to the obsessive, teaming growth of the woodland, or the microcosm in an egret’s feather.
Material exploration is central to my process. I contrast brute rusticity to refined polish as metaphor for nature to artifice. Polystyrene, gypsum and papier-mâché are staples in my studio. When glossy the resin coats pink Polystyrene, a flush blooms. My work is idiosyncratic, tempered by a sharp, sexual edge.
Exquisite yet sinister abnormalities afflict beasts and fowl. By depicting these, I hope to reveal wildlife’s uncanny ability to adapt to trauma. Among my recent subjects are the blue herons and sandhill cranes of the Midwest, and ostriches and hyenas from my travels in Tanzania. My flamboyant images are intended to presage disease but also reaffirm resilience, ultimately glorifying fauna’s ability to adapt and transfigure.
We can select from a range of mixed media, in two or three-dimensions or somewhere in between. Representational imagery will become refracted through a fantastical lens. If you are thinking of becoming my collaborator, here are a few suggestions:
- Currently, during COVID shelter-at-home, I’ve been creating a series of small brush/pen & ink works on the back of etching proofs. The results are double-sided works-on-paper. If we work together, I could combine several of these double-sided works into an artist’s book, whereas a single work would display sandwiched between glass.
- Mixed media work on paper
- Small, free-standing sculpture
- Hand-painted lithograph or etching
- Woodblock print
- Or please choose a work from my website. Here are some suggested links: Big Girls, Ravishing Ravages or printmaking from my WIP blog