Acrylic on arches watercolor paper
Dimensions: 76cm (H) x 56cm (W) x 0.2cm (D) / 29.9" (H) x 22" (W) x 0.08" (D)
Note: Actual colours may vary due to photography & computer settings.
Painting on 300 lb Arches watercolor paper, the ninth in a series inspired by the Brazilian artist Lygia Clark (1920-1988), specifically Superficie Modulada, a geometric drawing from 1956 done with graphite and gouache on paper. I'm interested in juxtapositions of color, and how colors either come together, or move away from each other. Triangles are just a starting point. I'm also interested in figure/ground interplay and in surface and texture exploration. As part of this exploration, I like to experiment with glazes, and in this painting, notice that the "gray" that you see, is actually a green with a red glaze on top. As an interesting fact, the Arches paper company was established in France in 1492!
Hometown: Grand Rapids, Michigan, USA
Based in: San Isidro, Argentina
Amy van Helden is an American artist and a resident of Argentina for the past 25 years. She obtained a BFA degree with a concentration in painting and printmaking from the University of Michigan in 1979. She had her first individual art show in 1991 at the Luigi Marrozzini Gallery in Old San Juan, Puerto Rico, where she lived for 11 years before moving to Argentina in 1997. Amy van Helden has had individual art shows in Buenos Aires, Argentina, and has participated in many group shows and art fairs. In the year 2013 she was awarded a Pollock-Krasner foundation grant. In 2012 she received the Arte Espacio prize in Buenos Aires, Argentina. Her work is in the realm of geometric abstraction. She finds this to be the perfect milieu in which to paint simple forms without distractions, and where she can experiment with the visual elements that inspire her the most: color, texture, pattern and movement. She prepares her ideas digitally, an agile process that allows her to create formal structures based on a grid where she can compose an infinite variety of color combinations and sequences. One of her ongoing quests is how to limit these structures and variations, but at the same time, broaden them, without losing cohesion. In her paintings and water colors she creates a visual and musical poetry of color and movement that she likes to call “coloreography” because it combines, precisely, color and choreography.
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