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Amy van Helden

Marimba VIII

by

Amy van Helden

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Marimba VIII by Amy van Helden

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Marimba VIII

by

Amy van Helden

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$ 950

Overview

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2012

Acrylic on arches watercolor paper

Unique Work

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.

Artist Statement

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This is an acrylic painting on Arches 300lb, 100% cotton cold-pressed watercolor paper. This is the thirteenth artwork of the Marimba series in which squares or rectangles of different colors are repeated in a grid pattern across a painterly single-colored surface. The Marimba paintings have been inspired by the colors of Guatemalan handwoven fabrics and marimba music. I'm interested in juxtapositions of color, and how colors either come together, or move away from each other. I'm also interested in figure/ground interplay and in surface and texture exploration. I use geometric shapes so that there are no distractions in the way I explore paint. I like to call this style "Chromatic Geometry".

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Artist Profile

Born: 1956

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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