Joan Konkel

Joan Konkel

Ananda
Joan Konkel

Ananda

Mixed Media

30 x 40 x 2 in

Braving the Sea
Joan Konkel

Braving the Sea

Mixed Media

60 x 20 x 5 in

Harmattan
Joan Konkel

Harmattan

Mixed Media

24 x 24 x 5 in

Light Play #1
Joan Konkel

Light Play #1

Mixed Media

9 x 9 x 3 in

Mystic
Joan Konkel

Mystic

Mixed Media

48 x 36 x 5 in

Song of the Siren
Joan Konkel

Song of the Siren

Mixed Media

48 x 48 in

The Richter Dialogue
Joan Konkel

The Richter Dialogue

Mixed Media

24 x 18 x 2.50 in

Beyond the White Trees
Joan Konkel

Beyond the White Trees

Mixed Media

30 x 40 x 2 in

Break Dance
Joan Konkel

Break Dance

Mixed Media

48 x 36 x 2 in

La Nina
Joan Konkel

La Nina

Mixed Media

60 x 60 x 10 in

Light Play #2
Joan Konkel

Light Play #2

Mixed Media

8 x 8 x 4 in

Passage in Blue
Joan Konkel

Passage in Blue

Mixed Media

60 x 48 x 2 in

Splash
Joan Konkel

Splash

Mixed Media

48 x 36 in

Visiting Salicia's Garden
Joan Konkel

Visiting Salicia's Garden

Mixed Media

48 x 48 x 5 in

Black and Blue with Rectangles
Joan Konkel

Black and Blue with Rectangles

Mixed Media

48 x 48 in

Celebration
Joan Konkel

Celebration

Mixed Media

48 x 36 x 2 in

Lady of the Lake
Joan Konkel

Lady of the Lake

Mixed Media

60 x 60 x 5 in

Lightness of Being
Joan Konkel

Lightness of Being

Mixed Media

37 x 43 in

Ribbons and Red
Joan Konkel

Ribbons and Red

Mixed Media

8 x 8 x 3 in

Tangled Up in Blue
Joan Konkel

Tangled Up in Blue

Mixed Media

9 x 36 x 2 in

Wake the Forest
Joan Konkel

Wake the Forest

Mixed Media

48 x 60 x 2 in

Black Opals Down Under
Joan Konkel

Black Opals Down Under

Mixed Media

36 x 36 x 5 in

Flight of the Phoenix
Joan Konkel

Flight of the Phoenix

Mixed Media

18 x 24 x 2 in

Light and Shadow #12
Joan Konkel

Light and Shadow #12

Mixed Media

10 x 10 x 4 in

Lilia's Papaya
Joan Konkel

Lilia's Papaya

Mixed Media

48 x 60 x 5 in

Salicia's Garden
Joan Konkel

Salicia's Garden

Mixed Media

48 x 60 x 5 in

The Big Splash (Triptych)
Joan Konkel

The Big Splash (Triptych)

Mixed Media

45 x 45 x 2 in

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Bio

My work releases color into the third dimension where it gathers light as it crosses space and becomes ethereal sculpture. It is unlike two-dimensional painting where color is constructed on a single surface and becomes a bonded unit of layers of glaze, paint, or thickly applied impasto. It is not mixed media where color is part of a mix of painting, drawing, collage, or object. Instead, the color I pursue is that which resides independently in the third dimension, color unchained from a single surface where the mix of colors reaches a destination and rests undisturbed. It is color that can waver subtly, and color that is capable of mingling with one color and changing hue, and then mingling with another and changing hue again.

 

Although my work begins with a two dimensional base layer of painted canvas, the color from the canvas soon enters the third dimension. The medium that makes this possible is mesh—woven strands of metal or fiberglass that serve as a support for pigment. The space between the strands of mesh is the magic that unlocks the doorway to the third dimension and permits color to flow both in and out. With an open doorway, light also enters, bathing each strand and each layer of color with the vibrancy of reflecting and refracting light. At times, the shimmer of iridescence arises, not produced with opalescent pigments but as a naturally occurring phenomenon.

 

The use of mesh as a medium gives rise to another natural manifestation, moiré patterns. I find these patterns of particular interest for they bring added independence to color in dimension. I can choose the colors of the layers of mesh and the color of canvas. I can manipulate the patterns that arise into various configurations: water marks, grids, and diagonals. But what is beyond my control is the process by which the moiré effect fractures my blend of colored layers into two or more distinct hues, and from these forms a geometric structure. This disassembly of a mix of colors does not occur of its own accord in a painting, or on any two-dimensional surface, or in any overlay of solidly colored translucent objects.

 

My work is a deconstruction of painting. It releases the layers of a painting into the void where each layer can perform independently within a shower of ambient light. As the mixing of color breaks free from a single surface it expands into another dimension, color itself becomes sculpture.

Joan Konkel
<p><span style="font-family: arial, helvetica, sans-serif; font-size: 12pt;">My work releases color into the third dimension where it gathers light as it crosses space and becomes ethereal sculpture. It is unlike two-dimensional painting where color is constructed on a single surface and becomes a bonded unit of layers of glaze, paint, or thickly applied impasto. It is not mixed media where color is part of a mix of painting, drawing, collage, or object. Instead, the color I pursue is that which resides independently in the third dimension, color unchained from a single surface where the mix of colors reaches a destination and rests undisturbed. It is color that can waver subtly, and color that is capable of mingling with one color and changing hue, and then mingling with another and changing hue again.</span></p> <p>&nbsp;</p> <p><span style="font-family: arial, helvetica, sans-serif; font-size: 12pt;">Although my work begins with a two dimensional base layer of painted canvas, the color from the canvas soon enters the third dimension. The medium that makes this possible is mesh&mdash;woven strands of metal or fiberglass that serve as a support for pigment. The space between the strands of mesh is the magic that unlocks the doorway to the third dimension and permits color to flow both in and out. With an open doorway, light also enters, bathing each strand and each layer of color with the vibrancy of reflecting and refracting light. At times, the shimmer of iridescence arises, not produced with opalescent pigments but as a naturally occurring phenomenon.</span></p> <p>&nbsp;</p> <p><span style="font-family: arial, helvetica, sans-serif; font-size: 12pt;">The use of mesh as a medium gives rise to another natural manifestation, moir&eacute; patterns. I find these patterns of particular interest for they bring added independence to color in dimension. I can choose the colors of the layers of mesh and the color of canvas. I can manipulate the patterns that arise into various configurations: water marks, grids, and diagonals. But what is beyond my control is the process by which the moir&eacute; effect fractures my blend of colored layers into two or more distinct hues, and from these forms a geometric structure. This disassembly of a mix of colors does not occur of its own accord in a painting, or on any two-dimensional surface, or in any overlay of solidly colored translucent objects.</span></p> <p>&nbsp;</p> <p><span style="font-family: arial, helvetica, sans-serif; font-size: 12pt;">My work is a deconstruction of painting. It releases the layers of a painting into the void where each layer can perform independently within a shower of ambient light. As the mixing of color breaks free from a single surface it expands into another dimension, color itself becomes sculpture.</span></p>
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Artist