Artist Melissa Reischman explores memories, transformation and the force of light in her dynamic portfolio of charcoal drawings. See more by visiting her website.
I began my creative career as a graphic designer. Over time, I came to miss the tactile qualities of art-making. I realized a longing to investigate my inner visions.
Drawing and painting allowed me to express myself in ways that my work as a graphic designer couldn’t. Taking the time to fully explore an idea or an image has become a very important aspect of my life.
My work is an ongoing exploration of the forceful movement of light.
I treat light as if it were a tangible object and a force that enters a space. I work with the dichotomy of light and darkness to examine the dynamics of life’s phases and emotions.
Light and dark serve as a metaphor for emotional and physical transformational states, from belonging to exile, grief to joy, and attachment to estrangement. I am interested in the transition that occurs when drifting from one state to another and the resulting journey.
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My art is informed by personal mythologies and my memories throughout my life—from my first memory of sunlight reflected on a lake to my solo walks in nature during a pandemic.
The artwork alludes to natural elements, landscapes, and still lifes. When I look closely at elements that are found in the natural world I often feel or envision something more than what I see with my eyes.
Through my work, I seek to connect the internal to the external. I invite the viewer to contemplate parallel possibilities that exist beyond the physical realm.
I work intuitively, one line or brush stroke leads me to the next. In constant dialogue with my work, I let the paintings and drawings guide me to where they want to go. I play with opposites, sharp and soft focus, and extreme lights and darks and create organic masses that hold a mysterious presence.
I shift between earth and atmosphere, mass and space, to blur the lines between abstraction and representation to create psychological landscape.
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