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Connie ConnallyShare The Road2021
2021
About the Item
Connie Connally’s botanical abstractions reference the wild, sensuous forms and colors she is surrounded by in the natural coastal landscapes of Southern California where she lives and works.
In this new series, Connally focuses on the natural history of perennial woodland and prairie wildflowers; showing their ephemeral loveliness each spring before the woodland trees cast shade. Though modest in nature, the wildflowers are persistent and tenacious - sprouting their colorful blooms in patches across meadows and in the bosque forest habitats. Connally celebrates this persistence to thrive and captures their simple beauty.
Thomas Nozkowski, the prominent NY, American abstract painter, said of Connally's works when he was her art advisor at SMU, "her 'nature abstractions' make the modest into something ambitious and it is her commitment to honor the continuous variability of her experience in nature. Each painting arises from that original experience and she keeps the painting open so anything can happen, while staying true to the original experience."
Connally’s paintings capture a complex elegance that merges the natural references with her powerful abstraction. The painted surfaces have a life of their own - the layers of brushwork distill the essence of her observations and display the vital interplay between memory and imagination. These paintings reflect both her exterior and interior experience of her surroundings. The rich, multi-layered surfaces of color morph, coalesce and scatter in quietly energetic rhythms that evoke the experience of being surrounded by nature.
Connie Connally received her BFA from Wichita State University (Magna cum Laude) in 1973 and her MFA from Southern Methodist University, Texas. Connally has exhibited throughout the United States and her work has appeared in numerous publications as well as public and private collections. She was a university professor of art between 1988 and 2005.
- Creator:Connie Connally (American)
- Creation Year:2021
- Dimensions:Height: 16 in (40.64 cm)Width: 32 in (81.28 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Fairfield, CT
- Reference Number:1stDibs: LU183210697382
"CONNIE CONNALLY WORKS MOST CLEARLY WITH WHAT WE RECOGNIZE AS GESTURAL ABSTRACTION, ASSOCIATED WITH ABSTRACT EXPRESSIONISM. CONNALLY HAS FOCUSED, HOWEVER, ON A NOTABLE SUBSET OF SUCH GESTURAL PAINTING, ONE RECOGNIZED IN THE HEYDAY OF ACTION PAINTING AND EVEN CITED THEN TO LI ABSTRACT EXPRESSIONISM WITH VITAL PRECEDENTS (E.G. THE LATE IMPRESSIONISM OF MONET, THE EARLY ABSTRACTIONS OF KANDINSKY). LIKE SUCH PRECEDENTS, CONNALLY DISTINGUISHES HERSELF AS, IN ESSENCE, A LANDSCAPE PAINTER, ALBEIT ONE WHO PAINTS THE LANDSCAPE SHE FEELS AS MUCH AS SHE PAINTS THE ONE SHE SEES. INDEED, CONNALLY’S STRESS ON SENSUOUS FORM AND COLOR EXPERIENCE THROUGH REFERENCE TO NATURAL PHENOMENA (IN PARTICULAR VEGETATION AND WATER, NORMALLY IN MOTION) PLACES ITSELF SQUARELY IN A TRADITION PARTICULAR TO THE AMERICAN EXPERIENCE. JOHN MARIN’S EXPANSIVE RHAPSODIES ON THE LOCAL LANDSCAPE EXEMPLIFY THIS TRADITION, AS DOES JOAN MITCHELL’S GRADUAL – BUT ULTIMATELY THOROUGH – ADOPTION OF LANDSCAPE QUALITIES AND REFERENCES. THIS SORT OF “PLEIN AIR ABSTRACTION” DEFINES CONNALLY’S WORK, BUT HER PARTICULAR TOUCH AND PALETTE, AND HER CLOSE AND VIBRANT SENSE OF ATMOSPHERE, DISTINGUISHES IT."
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