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EILEEN STARR MODERBACHER
Panta Rhei: Everything Flows
The image of the Pony Express Rider symbolizes perpetual motion to me, perpetual motion of progress; unstoppable, never-ending, never even getting tired. Though they rode only for a short time as a part of our American history, it was through the pony express that this huge space was connected, with messages getting passed fast enough to insure the insistent growth of this country and the insistent spread of the European and Puritan philosophies - “Bigger, better, faster, stronger, never stop”.
And if the pony express had been kept active and ridden on and on through time without changing, this insane and surreal postmodern landscape would end up being its surroundings. My reasoning behind this combination and juxtaposition of imagery is if we do not adapt (change our ways and show more respect and more patience with life and the earth) then the earth will be forced to adapt by churning out these new postmodern landscapes.
My concern with the apocalyptic has shifted to a concern about the environment, global climate change, extinction of the species, palm trees growing on icebergs — all perfectly natural and logical — to my way of thinking.
And yet there is a subtle modification in my approach to my art making. In the last 2 pieces of this body of work I am revisiting my aesthetic. I am becoming more interested in the design aspect of the piece and less interested in the image per say. I am consciously choosing to combine patterns of my own creation and take the work one step closer to abstraction; a flattening of the picture plane and a letting go of the horizon line completely in some cases and moving more in a direction of allowing myself to experience what the paint can do — letting it guide me out of my preconceived notions.
New Small Paintings
The point and purpose of my art making is to squelch the unrest that lies within me. My work is about placing the unrest represented by a tangible object at the forefront which resonates, titillates and excites me, but in the doing of it calms me down, restores my piece of mind and makes me feel complete.
My process is intuitive. I am attracted to certain images corresponding to my emotional and mental state at that period of my life, that time of choosing. I do not question why. I simply move forward trusting my selectivity. I experiment with my choices frantic almost to the point of obsession in terms of placement, overall composition and attention to my use of black/white and positive/negative shapes.
To some my very detailed compositions may seem too crowded with every millimeter of space activated, but I hope this aspect of the work only serves to heighten the tension of the moment. My paintings always make me think of Mozart who was accused of having too many notes in his musical compositions.
Choice of scale is vital to my work. In this new body of paintings, the small scale of the scenes transforms them into miniatures rather than landscapes. They become, I hope, a view into a scene in which the participant who has left behind an artifact is gone. We are left to experience that moment.
Urban Landscrapes
My work is often a constant jarring pairing of visual contrasts; sharp and soft focus, plants and people, detail and sketchy drawings side by side. What is most unsettling is the juxtaposition of content. Passionate lovers take backstage to soft plants. Domestic bliss co-exists with soldiers and guns. Home is surrounded by war and garbage. One wonders what aspects of life are real, the threats, the struggle or the private moments.
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