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<html xmlns="http://www.w3.org/1999/xhtml">
<head>
<meta http-equiv="Content-Type" content="text/html; charset=UTF-8" />
<title>rita de alencar pinto</title>
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<div id="main">
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<ul>
<li><a href="index.html">About Salons</a></li>
<li class="on_bold">+ Current Salon</a></li>
<li><a href="index.html">Upcoming Salons</a></li>
<li><a href="index.html">Past Salons</a></li>
</ul>
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<h2>Charlotte Nicholson</h2>
<p> </p>
<h3>by appointment through july 12th</h3>
<p> </p>
<p>Charlotte Nicholsons work is derived from an intuitive repetition of mark making.
Its physical presence elicits impressions of clouds, steam, fur, a sub-atomic
world and ambiguity. Using these gestures the artist has developed a series of
paintings whereby the entire surface of the panel is covered in gold leaf, and
in the course of time has developed a sensuous patina. The juxtaposition of this
rich surface and the blue and pink palette stimulates an electric tension. The
reflective surface draws out some of the marks more than others and leads the
eye dancing around the pattern. Nicholson has experimented with this tension
by adopting different size and shape panels and or covering more or less of the
surface with the mark resulting in a gemlike quality.</p><p> </p>
<p>Nicholsons second series directly references the compositions of Jean-Honoré
Fragonard (17321806), The Progress of Love series from the Frick collection.
These four panels painted between 1771 and 1773, considered by many to be the
artists masterpiece and one of the greatest decorative ensembles of the eighteenth
century. In 1790, Fragonard painted ten additional panels (the two large-scale
works Love Triumphant and Reverie; four Hollyhocks; and four overdoors of putti)
to complete The Progress of Love.</p><p> </p>
<p>Nicholson was inspired by the exquisite nature and rendering of this group of
paintings and how they resonated with her own process of mark marking and color
palette. She extrapolated the central figure pairings, foliage and sky-scapes
and re-configured them in her own visual language. The nuance created by the
abstract volumes derived from the accumulation of Nicholsons mark clearly re-interprets
these paintings as her own. </p><p> </p>
<p>The artists mark is the decisive relationship between these two bodies of work.
In the abstracted landscape of her Fragonard series she has been inspired by
the sparse application of the paint and the ability of the mark to interpret
its own density and movement. The gold leaf series takes on these forms with
no underlying narrative and become the central focus.</p><p> </p>
<p>Graduate of Glasgow School of Art BFA in 2000 and Hunter MFA in 2004, Nicholson
lives and works in Brooklyn.</p>
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