Abstract Acrylic Painting 'ZIGGURAT II' - Acrylic on Linen Katherine Lubar

Katherine Lubar

'ZIGGURAT II' - Acrylic on Linen

Name: 'ZIGGURAT II' - Acrylic on Linen
Brand: Katherine Lubar
Price: 2875.0 USD
Availability: InStock

$2,875.00 USD

Artist: Katherine Lubar
Certification of Authenticity: Apricus Art Collection
Signature:Signed by Artist

Size:

39.4'' x 23.7''

Variant

Description

Ziggurats were a type of building in ancient Mesopotamia, which were on a raised ground, with receding levels of steps leading up to a flat roof. Many contemporary ziggurat buildings exist, and this painting takes as its source material one based in California.

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Artist Biography

Originally from Dallas, Texas, and currently based in London, Katherine Lubar obtained a Post-Graduate Diploma from City & Guilds of London Art School. Lubar has work in the permanent collection of The Museum of Geometric and MADI Art in the US and the Department for Education and Employment in the UK. She was a finalist for the Evening Standard Contemporary Painting Prize in 2017, was shortlisted for the Wells Art Contemporary in 2018, 2019 and 2021 and in 2020 for the Hastings Contemporary. In 2020 she received a grant from the Pollock-Krasner Foundation. Lubar’s work is influenced by both living in England and growing up in Texas. The strong light that is present in her paintings and the human-made structures it falls upon is a direct response to growing up in Dallas, with its almost blinding light, exaggerated by the modern buildings and their corresponding shadows with their straight lines and flat expansive structures. Other important aspects of her work include the interplay between negative and positive space, a concurrence of flatness and depth, as well as investigations into the relationships between colours.

Artist Statement

My work investigates the behaviour of shadows and light patterns within an architectural context. I use photographic material as my source, and I try and distill the essence of the shadow or light pattern I have captured; however, my goal is for the final work to rest on the border between representation and abstraction. I use colour to describe the sensation of light, and to construct tension between positive and negative space, conveying the experience of shadows and light patterns as physical objects, while the flatness of the surface counteracts the illusion of depth, foregrounding the duality between the artificial and the real. In contrast to the intangible, ephemeral quality of the subject matter, the precise delineation between sections conveys a desire to engage with the idea of certainty and control. Some of the more recent work has been focused on steps, and the repetitive shapes created when shadows fall onto them, adding a sense of rhythm and pattern. The abstracted shapes open the work up to multiple readings, and the slowly built layers of paint form a tangible reading of time.

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