dionne lewis

Through the years I've created pieces using fine materials with “perfection” at the heart. 

When the pandemic hit, the normal process of life came to a halt. I found myself out of canvases during a moment when I was overflowing with the need to paint. I grabbed all the materials I had on hand and painted, and painted, and painted, until there were many pieces sitting on my work table.

Unprimed card or clay coated paper is not my typical substrate for fine oil paint but I had to just let the creative process flow. 

With this Smalls collection I wanted to challenge myself to let the “flaws” be part of the overall work. The conflict of the card absorbing oil was something I had to surrender to and embrace the unknown. Although my knife work is intentional, I needed to let the oil stains become part of the work and allow balance and space to let these stains seep in as if I also painted the stain, all the while not knowing how it would look in the end.

I didn't know how much oil would absorb into the card or how dark it would cure. All I knew was the piece would change over time and I needed to embrace it’s beauty.

I designed refined white oak frames that Ota House, Los Angeles custom built. These “perfect” frames allow for each piece to float while embracing the natural stain and wrinkle it gained over the past year during curing. I chose to forgo glazing to allow the beauty of the work to live in harmony out in the open, the perfect final act of risk and surrender.

These works are living art and will change over time.

Oil on Recycled Card or Clay Coated Paper