Val Rossman: Unexpected Interference
Spontaneous bursts of gestural expression meet carefully planned and executed drafting in Val Rossman鈥檚 new body of abstract works. Unexpected Interference features two varieties of exploration from Rossman鈥檚 multi-faceted painting practice of layered geometric compositions and energetically marked, achromatic configurations. Each variation of Rossman鈥檚 approach combines elements of chance and moments of orchestration, both of which are fundamental to her pursuits. Rossman finds her works to be analogous to life鈥檚 common challenges, and it is in the tension created by these opposing strategies where Rossman鈥檚 work flourishes and meaning is found.
Rossman鈥檚 studio is a carefully organized laboratory for creative delivery. Cups of pre-mixed colors await their use, and different sections of the studio are reserved for specific processes. Surprisingly, Rossman does not devise a specific 鈥減lan鈥 for each work. Rather, she begins by 鈥渕arring鈥 the clean areas of a surface with a gestural stroke, scribbles, colors, or lines. What follows is a dance of balancing the unexpected and unrehearsed with calculated intention. Rossman often spins the painting on its side while working, upending gravity and expanding the many possibilities at hand. The result is a harmonious and tasteful arrangement of painted actions.
Spontaneous bursts of gestural expression meet carefully planned and executed drafting in Val Rossman鈥檚 new body of abstract works. Unexpected Interference features two varieties of exploration from Rossman鈥檚 multi-faceted painting practice of layered geometric compositions and energetically marked, achromatic configurations. Each variation of Rossman鈥檚 approach combines elements of chance and moments of orchestration, both of which are fundamental to her pursuits. Rossman finds her works to be analogous to life鈥檚 common challenges, and it is in the tension created by these opposing strategies where Rossman鈥檚 work flourishes and meaning is found.
Rossman鈥檚 studio is a carefully organized laboratory for creative delivery. Cups of pre-mixed colors await their use, and different sections of the studio are reserved for specific processes. Surprisingly, Rossman does not devise a specific 鈥減lan鈥 for each work. Rather, she begins by 鈥渕arring鈥 the clean areas of a surface with a gestural stroke, scribbles, colors, or lines. What follows is a dance of balancing the unexpected and unrehearsed with calculated intention. Rossman often spins the painting on its side while working, upending gravity and expanding the many possibilities at hand. The result is a harmonious and tasteful arrangement of painted actions.