Sand T Kalloch

  • Willamette Falls, 2013

  • Sunny Grassland, 2013

  • Violet Hill, 2013

  • Mercurial, 2013

  • Cobalt Purple, 2013

  • Carefree Days, 2013

  • Happiness, 2013

  • Old British White, 2012

  • Volcan de Fuego, 2012

  • Tall Grass, 2012

  • Raspberry Hills, 2012

  • Rio Grande 1760, 2012

  • Waterfalls, 2012

  • Astral Blue, 2011

  • Sparkling Lime, 2011

  • Glittering Blackness, 2012

  • Black Lake, 2011

  • AA-1 Black, 2011

  • Lemon Yellow, 2011

  • White Ice, 2012

  • Indigo Night, 2011

  • California Poppy, 2011

  • Stardrop Pond, 2011

  • Motion Red, 2011

Artist Statement

The primary intention of this body of non-objective work is to create a simple visual experience utilizing the basic elements of dot, line, color, surface and light. I feel the pieces suggest concepts of time, concentration, and the meditative energies of motion.  The reductive aesthetic in my work is an overlapping of decidedly contrary visual elements:  fluidity vs. structural, opacity vs. transparency, and formalistic vs. introspective.  

An oversimplifying approach to art-making is the inspiration behind my work. I describe my work as non-objectional reductive art that deals with the elements of repetition, geometric abstraction and minimalism.  This body of work, at first look, appears to be rather simple. However, upon closer inspection, it turns out they are not quite simple, but semi-simple.

I use a combination of UV resistant epoxy resin, graphite, and paint on archival tempered clayboard or acrylic glass panels.  The lines are drawn using graphite in varying weights and grades. Resin droplets are placed on the final surface one at a time. The placement of these two elements is sometimes improvised, sometimes planned until a “visual plane” emerges. The interplay of the lines, layers of resin, and resin droplets creates the 3D effect. The drops serve to both distort and magnify the lines. 

Lighting plays an important role in the presentation of my work for it maximizes the viewing experience. When the viewer moves from one side to another of the artwork, they will see a sequence of reflections in the work. Clearly, there is more to be mined from the work when seen in person.  A huge challenge for viewers is not to touch the work. The physical properties of these tactile art objects fill viewers with an almost irresistible urge to touch them. The glistening, shining surfaces give them an appearance of being wet with beaded water.

Though my process is time consuming and labor intensive, working with resin provides a balance of structure and chaos that is fulfilling to me. It challenges my affinity for problem solving, material sensitivity, time management and organizational skills.

Landscapes

  • Landscape 2882, 2012

  • Waterfalls 2291, 2012

  • Waterfalls 2288, 2012