Mnemosyne’s Daughters Series 19 | Aug








Mnemosyne’s Daughters Series:





Mnemosyne (pronounced, ni-mo-sa-nee) in Greek literature is the embodiment
of memory and mother of science, art, and literature. As the inventor of
words and language, she preserves the stories of history and myth (and
their entanglement), while being viewed more as a historical figure and
less as a god.



This series of paintings explores the blurring between fact and fiction
that dates back to ancient Greece, and beyond; while paying homage to an
underserved group, female fighters pilots, whose stories aren’t as well
known. The paintings are derived from historical women, however, they
function as archetypes or symbols rather than distinct individuals, and
thus are not portraits.



Even though the Greeks hadn’t realized how identity was formed or culture
preserved, on a scientific level their instinctual blending of fact and
fiction has been reaffirmed through neurobiology and modern scientific
advancements in studies of the brain. We collect experiences and every time
we return to an experience it is recalled differently, and in a different
way, forming new pathways to that memory. This amalgamation of continuously
altered memories forms one’s identity. As we remember others or our pasts
selves myth finds a way in. Analysis of our atomic particles has revealed
we are 70% comprised of star matter, so the worship of the celestial was
also insightful by the Greeks.

Space is the river of time much like memory.


[image: Mnemosyne's Daughter I_WEB.jpg]


[image: Mnemosyne's Daughter II_WEB.jpg]


[image: Mnemosyne's Daughter III_WEB.jpg]


[image: Mnemosyne's Daughter IV_WEB.jpg]\


[image: Mnemosyne's Daughter V_WEB.jpg]


[image: Mnemosyme's Daughter VI_WEB.jpg]


[image: Mnemosyne's Daughter VII_WEB.jpg]

Each piece is 12" x12" made with oils on cradled wood panel.
This series will be arriving very soon. If you are interested please
contact the gallery.

Encouragement 19 | Aug


This September, we're coming up on the 15th anniversary of Robert Lange Studios being in existence. Personally, I've been with the gallery for 9 years this fall, and I've been looking back on everything that's happened in those years. I started with RLS in November 2010 for the Women Painting Women exhibit they hosted. I had never been to Charleston, and I was not represented by any galleries. After the Women Painting Women whirlwind, I was invited by Rob and Megan to be represented by the gallery (insert image of insanely ecstatic person running around screaming and jumping proceeding that conversation).  In these nine years, the gallery has always taken my side, has always encouraged me to pursue my creativity relentlessly. As an artist, this road is very winding and and unclear, and  endeavors often end up being a meandering rather than a straight path. Never once has anybody at the gallery told me "you should do more of this to sell" or "we really don't want this new direction you're taking". They have fearlessly stood by me since day one. They are the true meaning of what it is to invest in people. And trust me, when you invest in artists, it can mean A LOT of different things. So, as I have watched RLS change and grow and become this beautifully successful gallery, I've also gotten to witness and be a part of the other side of what people don't always see- their fierce loyalty to their artists. That's rare, and something to be celebrated. Hats off (or I guess in this case, ON and with feathers..) to 15 years!-Mia

All Framed Up 18 | Aug

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I love it! Now for a title.....

Jessica

Tiny Fun One 18 | Aug

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8x8 inch painting of our fav floaty. Because... why not?

Jessica

tag: Jessica Gordon

Photos Tomorrow 18 | Aug

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Black paintings are extremely hard to photograph because they reflect like a mirror. I got really lucky when I moved into my new home as I discovered a room where, if I wait until a certain time of day, the lighting is perfect. The angles of the room, location of windows etc. make the colors come out accurately and eliminate glare. Making my process so much easier. Tomorrow I will take the final photos and send to the gallery!

Jessica

In Print 16 | Aug



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“Out of Hibernation” 40″x40″ 13 | Aug


On the Easel for upcoming solo show.
(40x40 oil on panel)

Bird Watchers 12 | Aug


[image: Flint_Bird Catchers_2017_oil on canvas_60x72.jpg]
Bird watchers, 60" x 72", oil on canvas.

*Bird Catchers *is a great example of my practice where I rely on the
subconscious to evolve the painting through its various phases without a
predetermined end point. If a work develops to a stage where it has lost or
lacks adequate tension, I’ll employ digital software to incorporate or
remove subject matter. By utilizing digital tools I can test new elements
or alter the current aspects found within the painting. I’m reminded of
T.S. Eliot, who called this phase ‘critical labor;’ the labor of sifting,
combining, constructing, connecting, and testing of imagery. I move freely
between traditional and digital tools until I’m satisfied with the
direction. This isn’t a strict approach but one that allows plenty of
fluidity of thought and flexibility in my practice. The two dancers in *Bird
Catchers *were in a variety of environments before the iceberg laden ocean
setting that exists in the painting today.


I'm reminded of Conrad Martin, the artist that traveled on the HMS Beagle
with Charles Darwin to record the landscapes and animals new to Europeans.
The voyages brought the human back closer to the environment versus the
separation that culture had pushed for centuries. You can see this in how
the figures merge or dissolve with the surrounding environment. The cycles
of the seasons and the passage of time are echoed in the diagonal
multi-present sun arching across the sky which connect the two figures. The
idea of time, seasonal change, memory, and the nature of recollection is
also present with the two dancers alongside the iceberg off in the
distance.


This painting is available and can be viewed in the gallery.

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