Artist StatementMost of my work from early phases to present has a theme of camouflage or loosing and finding things. My first love was Bonnard with focus on color harmony, pattern c/o still life. I like the element of suddenly finding a dog, cat or human in Bonnard’s work. I wanted pattern and object to almost merge. I also liked to added something modern like a TV or soda bottle to keep things off balance and assuming a classic romanic stance. I thought I would always be a still life painter but I became restless from any sense of domestic. Perhaps due to Feminism of the 70’s ? I switched to a new subject of “how things work” c/o borrowed car parts from junkyards in Chicago. This was not totally foreign to me because I had been around antique car restorers and I had spent many hours in my youth in junkyards. I was only using graphite and producing light airy drawings with gray tones. The images were real but looked abstract because I was loosing and finding edges within connecting objects. On hiatus to rural Virginia where junkyards were different from Chicago. Not bound by concrete and inventory but cars forgotten/ abandoned in weeds. I soon forgot “how things work” and shifted to nature “taking over” manmade things. This became a series of photos and drawings with same sense of abstraction. Then I was abruptly thrown back to Chicago due to a new job. I learned artists have to go with the flow of whatever situation they are in to continue their art. The job offered the then newtechnology of color Xerox in 1980. Thus began a series of manipulating my photos w/ the color Xerox .A series of collages adding Oriental papers, scrapes collected w/ fragments of the manipulated Xerox's. A slow sequential manual loosing and finding resulting in deeper abstraction. The collage becoming it’s own form of “ taking over”. Detail replaces pattern and color became understated. Eventually, I took the collage into painting. One a 4’X6’ dyptchy of and old car descending silently into dust. The collage elements became “collaged”. Example, painting a shape based on Oriental paper takes on a new form. Not just pretty pattern anymore. At home and foreign at the same moment. Fusing abstract and realism but not as surrealism ( flowered Japanese paper next to photo of rusted fragment). Another phase of nature taking back over care of decaying concrete sidewalks with grass growing through. These cracked slabs took on a ancient bronze in early Chinese art. I did a series of drawing some grey tones and understated color. After this was a dormant period that finally turned into 5 years of hours of doodles mainly just to keep busy. The doodles slowly developed from Peter Max imitations or “Victorian trilobites” to a more serious thoughtful line. There is a point in mature artwork where line becomes to skilled and elegant. How to keep a line/mark fresh is a challenge. A period was born “scar tissue”. Now totally abstract and conceptual with “the mark” being the whole point. Like finger prints we each had a unique mark or handwriting. Now I have 4 series going following the same out of focus stream of consciousness 1. Scar tissue- i what is hidden in real/unreal scars and healing. Each scar has a story beneath the surface. I am not interested in tell the story just the scar. 2. Local conditions- a more direct diary of day to day abstracting real events and thoughts. At this stage, the Chinese concept of perfect c/o….complete abstraction is like poetry or philosophy. 3. Riya Tzsadi - a Hebrew word I made up. Literally side seer or side vision= p.v. . A Tzsadic is also a person with spiritual insight into a soul(s). phase 2 Riya Tzsadi collage. 4. Cave Quilts- European Prehistoric cave art and in awe of the simple random functional beauty of Gee’s Bend quilts emerged the idea of Cave Quilts. Ironically, I have two survivalfantasies to urge me on as a 4’11” single female that I can do almost anything alone. One is,being alone on a island. the 2nd, Being alone in a prehistoric cave with wild animals. The idea of cave quilts is absurd. There is no such thing. In this case these are just drawings of quilts. future animal tracks, drapery and water together with focus of fluid/flow. Another variation of loosing and finding. Caves are hidden. They are the first art museums. Or context to present air fair market, as Art Basel Miami , you can't auction a cave. All of my work is understated- not about violence or drama. I love the world of no words Giving no answers just questions or contemplation. (rough draft).
Alice Faith Dole born 2/9/1948 Washington , DC MICA '70, SAIC '77