June Harwood ( 1933-2015 )
My early paintings from the 50s and 60s reflect my formal training at Syracuse University. They derived from colored paper collages—the images retaining the same rigid, hard edges, then translated into acrylic paint on canvas. The flat shapes themselves abut each other and read both as negative and positive shapes, which art critic, Jules Langsner, later to be my husband, referred to as “interlocking colorforms.” The forms (or shapes) I used were non-objective—that is, having no reference to nature—comprised at first of vertical, horizontal and diagonal edges—that is, angular, jagged, wedged, etc., and then curved shapes—elliptical, looping, ovoid, etc.
At one point in my painting career, the colorforms began to splinter, divide and ultimately suggest natural forms—as opposed to more abstract forms—and reveal aerial views, ripples in the water and other fleeting impressions of rural geography.
Now, in late years, seeming to have come full circle, the non-objective, primal instinct has reappeared. First instilled in me long ago, formal composition has remained the consistent theme throughout these many years.
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