My new 2018 series picks up where my 2014 series ended. This new large scale series is first composed in layers in Photoshop using various images that I come upon in my daily life. I then print them to scale, in proportion to my canvas, and recreate that image by eye. This allows the painting to look like it was done by a human and interprets what I remember and liked about the images. My Love of natural images motivates this series in a rapidly changing environment. 


This series is about marks in opposing forces creating spatial contradictions. I have been painting for over fifty years and was originally schooled as an academic painter who from time to time moves away from the use of imagery. As much as I like representational painting, non-objective work gives me a deeper feeling of satisfaction and a broader range of self expression. This series, unlike some of my past abstract paintings, is not about landscape or environmental imagery but rather is about marks on various planes, textures, and finishes. The oil paintings usually begin with a painterly mass into which marks are created and over painted. The results are a pairing of thick verses thin, hard verses soft, geometric verses organic masses. 

My 2016 work began with a new series about color modes. A theme I am familiar with since I have supported my long career with a design business specializing in fine art reproduction and now web for the arts. Although there are a number of obvious contemporary influences in these non-objective paintings one of my earlier favorites is Richard Diebenkorn. 

The play of opposites is especially evident here with the hard vs soft use of paint and shapes. Here my academic training incorporates my love of drawing with the use of linear carbon edges around the color masses and an added multi-dimensional effect by a subtle use of shadows.

Barbara Sosson