About
- Resume
- Artist's Statement
- Essays
- Susan L. Weller
- Warren Zanes
- Kimberly Whinna
Email: info@shawndulaney.com
Shawn Dulaney's style, a layered construction of abstracted color merging to form spacious landscapes, has been described by William Zimmer of the New York Times as belonging to "a very strong tradition, that of 19th-century Northern European Romanticism in which nature was seen as corresponding to human emotional states." He says of her work, "Ms. Dulaney makes it clear that her inner life is very much a part of each painting, and this alone distinguishes it from most abstraction...Shawn Dulaney is deliberately out for grandeur. but she is also out for intimacy. Her paintings take advantage of their innate ambiguity and declare themselves to be very current in the thinking that lies behind them."
Her pieces are subtle; lush with color and a depth of detail that engages the imagination and conveys a weight of emotional connection to atmospheres and places. Her surfaces, as described by Dominick Lombardi-also of the New York Times, are "exquisitely painted", and "a pleasure to see". She achieves the same understated transcendence in all of her work; the large-scale acrylic landscapes and waterfall paintings, intimate frescoes or in her series of monotype prints.
Shawn Dulaney has worked as a painter for over two decades, exhibiting nationwide. Her paintings can be found in extensive public collections worldwide-the Hunterdon Museum of Art in New Jersey, the Trump International Hotel in New York, The Venetia Resort in Macan, China, as well as in the private collections of author Annie Proulx, actor Steve Buscemi, artist Jo Andres and musician Stuart Copeland. Her landscapes have also appeared in episodes of TV's Sex & the City, in Interview, a film directed by Steve Buscemi, and in It's Complicated, a film directed by Nancy Meyers. Her work has appeared in Art in America and H.C. & G. Hampton's Magazine, been featured in New American Paintings, and reviewed in the New York Times.
She currently lives and works in Brooklyn, NY.
Her favorite songwriter is Kane Dulaney Balser, and her
favorite photographer is Luca Dean Balser.
She unearthed a hidden reservoir,
A sacred river
Became a waterfall rushed with voice,
And many doors opened
With light.
I am inspired by the simple evocative symbolism in nature, and by the power of light to reflect awe and reverence.
My paintings are windows to inner and outer landscapes. I use light and color as emotional symbols.
The process of making them is a meditation and a journey, creating spaces where the elements hold personal meaning and poetic metaphor.
I experience the paintings as holding their own soul, separate from mine, as in the birth of a child.
They remind me that light is a gift.
In this work I search for the rudimentary interdependency of the concrete and the ethereal.
I draw on the notion of the indomitable spirit.
Represented By
Sears Peyton Gallery, New York, NY
Weber Fine Art, Scarsdale, NY
One Person Shows
2010
Weber Fine Art, Two Bells: Meditations on Nature, NY
2009
Sears Peyton Galley, In the Drenched Earth, NY
Weber Fine Art, The Canal, Scarsdale, NY
2007
Sears Peyton Gallery, Curtain of Water, New York, NY
Weber Fine Art, Waterfalls, Scarsdale, NY
2006
Weber Fine Art, Boundless, Greenwich, CT
2005
Sears Peyton Gallery, Mirrors and Tides, New York, NY
2004
Weber Fine Art, The Intimate Sky: Paintings of Light, Scardale, NY
Weber Fine Art, New Paintings, Chatham, NY
2003
Weber Fine Art, Holding Light, Scarsdale, NY
2002
Sears-Peyton Gallery, New York, NY
Weber Fine Art, New Paintings, Scarsdale, NY
2001
Karan Ruhlen Gallery, Santa Fe, NM
Museum West, San Francisco, CA
Weber Fine Art, Atmospheres of Light, Scarsdale, NY
2000
Karan Ruhlen Gallery, Atmospheric Paintings, Santa Fe, NM
Sears-Peyton Gallery, Works on Paper, New York, NY
1999
Margaret Bodell Gallery, Lifted : Atmospheric Paintings, New York, NY
Karan Ruhlen Gallery, The Intimate Surface, Sante Fe, NM
Museum West Fine Art, New Work, San Francisco, CA
Margaret Bodell Gallery, "One of a Kind Works on Paper", NY, NY
Robischon Gallery, "Distant Views", Denver, CO
1996
Robischon Gallery, "Vestige, Symbol, Verse", Denver, CO
1994
Robischon Gallery, "Fresco", Denver, CO
Felissimo, "Recent Frescoes and Monoprints", New York, NY
1992
808 Penn Modern, "Terra Firma", Pittsburgh, PA
1992
Lee Arthur Studio, New York, NY
1991
Sordoni Art Gallery, "Balance & Assembly", Wilkes-Barre, PA
1990
101 Wooster Street/DNC Exhibition Space, New York, NY
1988
Fox & Fowle Associates, New York, NY
1987
Running Ridge Gallery, Santa Fe, New Mexico
Running Ridge Gallery, Ojai, California
1984
The Katonah Gallery, Katonah, NY
Selected Group Shows
2009
Weber Fine Art, with Hans Hoffman & Wolf Cahn, Scarsdale, NY
2008
Boltax Gallery, Border Walls, Small Works, Shelter Island, NY, curated by Nuala Clark
2006
Karan Ruhlen Gallery, Inner Space, 4 artists referencing nature in landscapes exploring emotional terrain
2005
Weber Fine Art, Inspiration and Influence, Shawn Dulaney/Hans Hoffman, Paintings, Scarsdale, NY
2004
Weber Fine Art, Opening Show, Greenwich, CT
2001
James Kelly Contemporary, Site Unseen II, Santa Fe, NM
Karan Ruhlen, Red, Santa Fe, NM
Joyce Robins Gallery, A Show With Heart, Sante Fe, NM
2000
Mixed Media Gallery, Brooklyn On The Block, Block Island, RI
Karan Ruhlen Gallery, Mil Flores, Santa Fe, New Mexico
1999
The Parrish Art Museum, 36th Juried Exhibition, South Hampton, NY
Karan Ruhlen, Simply Irresistable, Sante Fe, NM
Karan Ruhlen Gallery, "101 Cups/101 Artists", Santa Fe, NM
Hemphill Fine Arts, Our Good Earth: The Landscape at the End of the Century, Washington, DC
Museum West Fine Art, Two By Six, San Francisco, CA
Karan Ruhlen Gallery, Passionate Pairs, Santa Fe, NM
1998
Art In Construction Showroom, "3", New York, NY
Karan Ruhlen Gallery, "Red", Santa Fe, NM
Karan Ruhlen Gallery, "New Year, New Artists", Santa Fe, NM
1997
Karan Ruhlen Gallery, "101 Cups/101 Artists", Santa Fe, NM
Gallery at Hastings-On Hudson, NY "Fresh/Fresco:The New Age of Fresco", Curated by Gail Swithenbank
Art In Construction Showroom, "Three Again", New York, NY
1996
The Arvada Center for the Arts, "Eggs, Milk & Wax: Old techniques in New Pntgs", Arvada, CO
Smack Mellon Studio, "Pattern and Relief" Brooklyn, NY
1995
Robischon Gallery, "Revisiting the Past", Denver CO
Allrich Gallery, "Nature/Culture:Meeting at the Border", San Fransisco, CA
Elan Vital Gallery, "A 90's Look at Fresco", Boston, MA
1994
Boston College Museum of Art, "Fresco: A Contemporary Perspective", Chestnut Hill, MA
Patoka, Ltd., "Quoquo", Central Hong Kong
1992
Rule Modern and Contemporary, "Small Masterpieces", Denver, CO
The Jefferson Cutter House, "Mother/Artist:Motherhood and its Influences", Arlington, MA
1988
The Linda Durham Gallery, "Get It On Paper!", Santa Fe, New Mexico
1987
The Katonah Gallery, "Gallery Artists", Katonah, NY
1984
Fox & Fowle Associates, "Works On Paper", New York, NY
1983
American Watercolor Society National, New York, NY
1982
Allied Artists National, New York, NY
The Katonah Gallery, "Gallery Artists", Katonah, NY
Commissions/Installations/Appearances
2010
Untitled Film directed by Nancy Meyer
2008
"Interview", a film directed by Steve Buscemi
2000
Sex & The City, TV
1999
Diptych Painting, Schwartz residence, New Rochelle, NY
1998
Fresco Mural, 10.5' by 11', Art-In Construction Showroom, New York, NY
1997
Fresco Panel, Amter/MacDonald residence, Denver, CO
Fresco Panel, Warren residence, Brooklyn, NY
Fresco Triptych; Coop Lobby, Central Park West, New York, NY
1996
Fresco Diptych; Hamilton/Sisk residence, Lamy, NM
Collections
Steve Buscemi and Jo Andres, Brooklyn, NY
Kenneth Cole, NY, NY
Annie Proulx, Centennial, WY
Stuart Copeland Private Collection
Dr. David Colbert, NY
Hunterdon Museum of Art, Cinton NJ
Trump International Hotel & Tower, NY
Venetia Resort, Macan, China
Bear Stearns, New York, NY
Babcock & Brown, New York, NY
Neville, Rodie & Shaw, New York, NY
Winston & Strawn LLP, Chicago, IL
Babcock & Brown, New York, NY
Neville, Roadie & Shaw, Investment Counselors, New York
Farer Fersko, Environmental Law, Westfield NJ
Department of State, Washington, DC
United Airlines/JFK International Airport, Brooklyn, NY
American Airlines, New York, NY
Ardsley Partners Invesments, New York, NY
Astoria Federal Savings, New York, NY
British Airways, New York, NY
British Airways, Philadelphia, PA
Devon Properties, New York, NY
Financial Security Assurance, New York, NY & London, England
Fox & Fowle Associates, New York, NY
General Electric, New York, NY
Kathy Ruttenberg, NY
Pfizer, Inc., New York, NY
Shearson Lehman, New York, NY
Skandia Inc., New York, NY
Swiss Bank, New York, NY
The Reader's Digest Collection, New York, NY
US Air, New York, NY
Education & Awards
Artist's Space Artist's Grant, 1990 (Funded by The National Endowment for the Arts, The New York State Council on the Arts & The New York City Department of Cultural Affairs)
The New School of Art, Toronto, Ontario, Canada
Stanford University Studies Center in Britain, Maidenhead, England
The Berkshire College of Art, Maidenhead, England
Mills College, Oakland, California
Juries
Scholastic National Art & Writing Awards, 2009
Published
New American Paitings, Anniversary Edition, Open Studios Press, 2009
Art in America, 2006, Sears Peyton Gallery
H,C & G Hamptons Magazine, 2007
Pasatiempo/The Santa Fe New Mexican, May 2006, Karan Ruhlen Gallery, by Craig Smith
Art in America, 2005, Sears Peyton Gallery
The New York Times, Westchester, Sunday, April 2004, by Dominick Lombardi
The New York Times, Westchester, Sunday, April 27, 2003, by Dominick Lombardi
The New York Times, Westchester, Sunday, May 13, 2001, cover of Arts & Entertainment pg. 10 by William Zimmer
Gallery Guide International, October 2000
Pasatiempo/The Santa Fe New Mexican, October 2000
Santa Fean Magazine, September 1999, Karan Ruhlen Gallery, Pg. 72
Focus Magazine/Santa Fe, June/July 1999, Karan Ruhlen Gallery, Pg. 6, 26-29
San Fransisco Magazine, April 1999, Museum West fine Art, Pg. 20
New American Paintings #20, Open Studios Press, February 1999, pgs. 3, 40 - 43
International & West Coast Art Now Gallery Guide, Spotlight profile February 1999, pg. 49
Art In America, December 1997, Karan Ruhlen Gallery, Pg. 40
The Figure Drawing Workshop, by Carole Katchen, published by Watson/Guptill.
Twelve reproductions, April 1985
Sketching Techniques, Watson/Guptill, October 1985
Partwork Book, series by Eaglemoss Limited, London, UK & Brazil
Email: info@shawndulaney.com
Shawn Dulaney's style, a layered construction of abstracted color merging to form spacious landscapes, has been described by William Zimmer of the New York Times as belonging to "a very strong tradition, that of 19th-century Northern European Romanticism in which nature was seen as corresponding to human emotional states." He says of her work, "Ms. Dulaney makes it clear that her inner life is very much a part of each painting, and this alone distinguishes it from most abstraction...Shawn Dulaney is deliberately out for grandeur. but she is also out for intimacy. Her paintings take advantage of their innate ambiguity and declare themselves to be very current in the thinking that lies behind them."
Her pieces are subtle; lush with color and a depth of detail that engages the imagination and conveys a weight of emotional connection to atmospheres and places. Her surfaces, as described by Dominick Lombardi-also of the New York Times, are "exquisitely painted", and "a pleasure to see". She achieves the same understated transcendence in all of her work; the large-scale acrylic landscapes and waterfall paintings, intimate frescoes or in her series of monotype prints.
Shawn Dulaney has worked as a painter for over two decades, exhibiting nationwide. Her paintings can be found in extensive public collections worldwide-the Hunterdon Museum of Art in New Jersey, the Trump International Hotel in New York, The Venetia Resort in Macan, China, as well as in the private collections of author Annie Proulx, actor Steve Buscemi, artist Jo Andres and musician Stuart Copeland. Her landscapes have also appeared in episodes of TV's Sex & the City, in Interview, a film directed by Steve Buscemi, and in It's Complicated, a film directed by Nancy Meyers. Her work has appeared in Art in America and H.C. & G. Hampton's Magazine, been featured in New American Paintings, and reviewed in the New York Times.
She currently lives and works in Brooklyn, NY.
Her favorite songwriter is Kane Dulaney Balser, and her
favorite photographer is Luca Dean Balser.
Curtain of Water
People respond to the beauty of waterfallls in different ways. Annie Taylor, still in her petticoat (as the fashion of 1901 dictated), was the first to ride Niagra Falls in a barrel. Queen of the Mist, she wrote in white paint on the barrel's side. Most people don't take it that far. But there is something in a waterfall that stops us all. Calling them the "voice of the landscape," painter Thomas Cole celebtrated the waterfall's marriage of opposites, "unceasing change and everlasting duration." In Native America traditions waterfalls are spiritual sites, the water forming an opaque curtain behind which the spirits are said to be at work. In the artist's realm, whether with the photographers of the 19th century geological surveys or the Hudson River School painters, the waterfall is an emblem of the sublime, a trope irrestible to the Romantic imagination.
Shawn Dulaney's Curtain of Water series embraces the deep symbology of the waterfall—but only to build out from that history. The insistent verticality of the work quickly distinguishes it from the Romatic landscape traditions. Where Cole used the shore's landmasses to anchor his compositions on the horizontal plane, inadvertently quieting nature's voice, Dulaney brings us closer, where the water's rush is a roar. We come so close, in fact, that the waterfall is no longer a facet of the landscape but a felt, immediate experience. It is a strategy that unlocks a different sensory response. Emerge and Into Being, their striking surface densities revealing the histories of their making, use the literal content, the waterfall, to recall for the viewer a place where sound and touch rival sight as a means of orienting oneself. Soundless Sound evokes what is perhaps the most striking proximity to that place of sensory reordering.
Dulaney's work quickly transcends its literal content. White Voice and The Light exemplify the manner in which the paintings begin with water to arrive at the subject of painting itself. The waterfall's marriage of stillness and motion, its simulultaneous permanence and flux, is what Dulaney works with in order to address the dual nature of the painterly mark itself, both fixed and fluid. What Dulaney succeeds in doing is to bring the one who stands before the painting into the world of its work.
Behind the Curtain of Water series is an artist with a strong modernist sensibility, every element of her work distilled into what is most essential. Yet Dulaney is also willing to expose the emotional center of her paintings in ways not always common to the vastness and ambition of the modernist project. There is a strength to the work that has led New York Times critic William Zimmer to associate Dulaney's paintings with those of Mark Rothko—but there is also an openness to Dulaney's gesture, embodied in her invitation to those who stand before her cavases. She brings her viewer behind the curtain of water, where the spirits are said to work.
Warren Zanes, 2007
Mirrors & Tides
Shawn Dulaney grew up near the base of the Rocky Mountains, in a house whose western-facing side was entirely glass. This window presented her with a constantly changing, epic canvas. She was captivated by what she saw; the shifts of the light, the blurring of the horizon line as rain streamed down the window panes, the changing quality of the air itself, and the way light moved through it. It is this feeling of cumulative time and sensory experience that distinguishes Dulaney's landscapes. She is not painting a landscape frozen in one moment; instead she is painting the changing spirit of a place.
Dulaney was inspired to paint In a Body Blue from an experience she had in a rainstorm: While on a long summer evening's walk, Dulaney found herself in the middle of a sudden downpour just as darkness fell. Making her way home through the woods, she was pulled into a current of senses; the dank smell of the damp grass surrounding a flooded river, the sound of raindrops plip-plopping onto ripening leaves and the taste of earth and life that permeates the air on such stormy nights. "I can absorb the soul of a place and then watch it unfold and take form in my work," says Dulaney. In In a Body Blue, we see Dulaney translate the landscape of that night into an abstracted sensory experience.
The top of the painting is drenched in a velvety indigo field, as drips and drizzles of rain bathe its surface. The indigo stream eventually makes its way to the milky pool below, electrifying it with liquefied bolts of lightening.Hints of kelly green remind us of the lush scents of the forest, and the faint ghosts of underpainted trees are visible in the depths of the watery sky above.
Shawn Dulaney paints on linen stretched over wooden panels. She beings by applying a plaster-like ground to the linen, a practice that is a nod to the ten years she spent as a fresco painter. Then the layering of paint begins. She starts with a solid color and then begins adding and reducing layers of paint.
In In Your Sight, streams of ochre and amber paint trickle down the surface. Some of the drip marks are truncated by swift swipes across the wet surface, while others drizzle undistrubed to the bottom. A broad crimson brushstroke juts in from the lower left-hand corner, assertively and confidently making its mark in the foreground. These many layers of diverse marks create a space for us to enter, as we navigate between the dripping planes.
In paintings like Bouyant, Dulaney leaves behind the idea of specific place and paints a purely spritual landscape. The crystal quality of the gaseous lights evokes thoughts of dusty sunrises or sunsets. The gentle blue forms that poke through this powdery abyss could be moutains or water or clouds. There is a blissful essence to this painting, as rusty red clouds break to reveal this golden, glowing realm.
In Bottomless, the landscape evaporates into a puff of smoke. A brilliant explosion of saffron and white creates a euphoric cloud. Ground has been broken, the horizon line has completely disappeared, and we are left floating in this foggy dream of light and color.
Kimberly Whinna, 2005
In The Drenched Earth
At first glance, the recent paintings by Shawn Dulaney are images that are arresting and simply convey beauty. At second glance, the presence of the paintings manifests and projects a space that situates and orients the viewer in a manner distinctly different than most paintings. Within this spatial projection, the viewer's body is engaged; the body senses what the paintings effect and not solely what is seen. The images shift to environments, positioning the viewer's body as a conduit for experience. Awareness of the presence of one's body within the environment of a painting gives rise to an integration of sensing, feeling, and thought. Shawn's agency, her means and process of making paintings, brings forth a holistic engagement with the viewer, similar to the sensory shift that takes place when one is walking in a natural environment and experiences immersion.
Shawn has a reverence for place. A place, simply put, is where somebody or something can be in, can inhabit. She travels to find places, waterfalls at Yosemite National Park, plateaus that skirt the Rocky Mountains, and waves off the west coast of Ireland. The places Shawn chooses to paint are not meant to be representational but instead register what a place elicits and her relation to it. From her memories of a place, she extracts qualities, energies, feelings, and thoughts to bring to painting. Shawn synthesizes these experiences as she is painting, taking a reductive approach to making an image by means of the physical act of dripping, brushing, splashing, stroking, layering, or gliding with a squeegee. She imbues paint with the complex qualities of emotive energy such as desire, joy, grief, and longing. By reducing the representational image of a place, she gives the medium of paint a physicality that embodies the kinetic energies of a place: flow, light, wave, electricity, or solid, for instance. These energies transmute, creating an interplay within nearly all of her paintings. In Moonlight, the waterfall is constantly flowing yet yields to its frozen stasis, the eternal stillness of the deep black night sky moves only when light skirts its edges. These transmutations bring to mind Lao Tzu's insight: "The heavy is the root of the light; the unmoved is the source of all movement." What makes the painting seem more vivid, more charged, perhaps more true than a representation of a waterfall or even an actual waterfall?
The two axes of the painting, a vertical waterfall and a horizontal expanse of sky, allow gravity to startle us back to our physical presence, to the fact that the place where we stand is holding us up to be able to look, to sense, and to be conscious of living a relation with the world. Shawn's paintings are like "thin places", a Celtic term that in its broadest definition is when the ordinary shifts to the extraordinary, in which case the mystical is said to have been experienced. These paintings are generous - they just keep giving.
Susan L. Weller, 2009
About
- Resume
- Artist's Statement
- Essays
- Susan L. Weller
- Warren Zanes
- Kimberly Whinna
- About
Resume
- Artist's Statement
- Essays
- Susan L. Weller
- Warren Zanes
- Kimberly Whinna
- About
- Resume
Artist's Statement
- Essays
- Susan L. Weller
- Warren Zanes
- Kimberly Whinna
- About
- Resume
- Artist's Statement
- Essays
- Susan L. Weller
Warren Zanes
- Kimberly Whinna
- About
- Resume
- Artist's Statement
- Essays
- Susan L. Weller
- Warren Zanes
Kimberly Whinna
- About
- Resume
- Artist's Statement
- Essays
Susan L. Weller
- Warren Zanes
- Kimberly Whinna