SAND T KALLOCH: Structure and Chaos

SEMI-SIMPLE: DOT (point), LINE, SURFACE, COLOR AND LIGHT

I use a combination of UV resistant industrial epoxy resin, graphite and acrylic paint on archival tempered wood panel, or acrylic glass panels. The primary intention for this body is to manipulate the basic elements of dot (point), line, color, surface (plane), form and light to create maximum visual impact. My work is mainly inspired by nature, time, space, color, sound, movement, and composition. Lighting plays an important role in the presentation of my work for it maximizes the viewing experience...

COLOR IS APPROXIMATE :: Please note that the colors of the images posted on this blog may be slightly off compared with the original artwork. I strongly encourage you to see the work in person if possible.

What Andre said

"... there's something comforting in the aesthetic consistency of Kalloch's multimedia panels. There's a sleek assembly-line aesthetic that belies the cool appearance with emotive warmth and intelligence, nullifying any thoughts of the work as pure eye candy. I can't help but love the deliberateness of a process that still allows for so many subtle improvisational riches. The work is about looking and slowing down long enough to consider the depth of experience in what at first appears similar... "

- Andre Van Der Wende, Contributing writer, Cape Cod Times, Sept 6, 2012

What Mim said

"The words fresh, pure, clean luminous, pristine, sophisticated, modern, disciplined and colorful all rush into my head upon viweing this work. Viewing a single piece is pleasing, but seeing works in a series in much more engaging, enveloping and exciting. The artist seems to attain her goal ("... to utilize the basic elements of visual language... to create maximum visual impact.") in every single piece."

- Mim Brooks Fawcett, Executive Director, Attleboro Arts Museum, Attleboro, MA, USA. August, 2012.

What Susie said

“Sand T’s work appears grid-like and systematic, yet each work is so individual, said gallery director Susie Nielsen. “As clean and sharp as the art objects appear, there is a very emotional quality to them, as one can literally see their reflection in the work and also lose oneself in it. The work invokes investigation from different views and angles. It makes your senses react, you wonder if you hear the air bubbles moving, breathing. The layers of graphite lines and the “bubbles” (resin droplets) add different layers and levels of complexity to each piece.” - Susie Neilsen, director of farm gallery, Wellfleet, MA, Sept 2012. (Detail) Geranium Red, 30x30 inches

Meditative Minimalist? by Yusuf Martin

Comment by Marjorie Kaye

"The saturation of color is the purest form of visual joy in works by Solo Exhibition Award Winner Sand T Kalloch (Malden, MA). One's eyes fill with the essence and vibrating energy of a singular field of color. The subtle drawing and smooth surface push the color forward into the periphery of initial contact. The colors the artist has chosen are those that can be immediately connected to the more energetic, positive emotions. But in this form, she could have chosen blacks, whites, and grays and hinted at it; one edge of line, one shadow, and another emotion is certain to emerge - even with the joyous color. The color remains what affects the instinctual reaction, but working behind this is the composition; together they guide the viewer to an aspect of the piece itself and the inner life of the individual experience."

- Marjorie Kaye, Director, CALADAN GALLERY, Cambridge, MA, January 2011

Comment received about my work

Although Sand T Kalloch’s paintings appear to utilize a simple language of dots, line, and color, they transcend their simplicity through their illusionistic surface depth and reflective nature. For some, the patterns might allude to the moments when our interior bodily rhythms are acknowledged and heard. The fluctuated spacing between lines and between pooled dots remind one of breathing patterns, blood pumping, and a heartbeat. This makes the most sense when one has been especially hyper-aware of one's own body. During meditation or yoga, the breath becomes all-encompassing, when one is operating on pure fear or adrenaline; we feel our blood pumping through our body. Sand’s paintings slow us down so that we can listen to the inner rhythms of ourselves and respond to the image in front of us.

- Candice Smith Corby, Gallery director of the Cushing-Martin Gallery at Stonehill College in Easton, Massachusetts. Oct 2010

Comment by Jennifer Kostuik

"Sand T Kalloch employs an array of bold colors with extremely fine graphite lines and smooth resin layers to create a sophisticated and ultra minimal aesthetic in her art. Her interplay of these lines, layers of resin, and intentionally placed resin droplets creates a wonderful three-dimensional effect that is very enticing to the eye. Her precision and control of a highly difficult medium brings to the viewer her sensibilities in the exploration of the concepts of time and the meditative energies of controlled motion in non-objective imagery."

- Jennifer Kostuik, Director, Jennifer Kostuik Gallery, Vancouver, BC, Canada, January 2011

What Susie Nielsen said...

“Sand T Kalloch‘s work feels quiet and still while at the same time is full of life and movement. The surfaces are pristine and glossy yet each piece is so textural and luminous. The layers of graphite and the bubbles (resin droplets) add different layers and levels of complexity to each piece. The work invokes investigation from different views and angles. It makes your senses react, you wonder if you hear the air bubbles moving, breathing. Sand’s work appears grid-like and systematic, yet each work is so individual. As clean and sharp as the paintings appear there is a very emotional quality to them, as one can literally see their reflection in the work and also lose oneself in it."

Susie Nielsen, director of FARM in Wellfleet, June 2010

What Caroline said...

"...Though a sense of cleanliness and structure dominate the works there is a luminosity and tactile quality about the thick hard resin drops that contributes a juicy texture to the pieces. Though the works rely heavily on geometric forms and vaguely architectural elements, they avoid projecting any kind of rigidity. In fact, the epoxy resin layers have a hard candy-like quality to them, appearing as though they may melt in the viewer’s hands, or dribble down the wall come summertime...."

Caroline Scannell, Collegian, UMass Amherst, March 2009

What June said...

"You might want to tie your hands behind your back when you look at Sand T Kalloch's new paintings. The Malden artist is a big tease at "Touch Me Not," her new solo exhibit of glistening, shining surfaces that will tempt you to reach out and touch to see if they're really wet. The show's theme is simplicity, repetition, and structure. And if you're worried that you'll succumb to temptation, find the one painting that you can touch titled "Please Do Touch."

- June Wuff, Boston Globe, June 2009

What Alvin said...

"Amazing in every sense! Its hard for me to find the words (as clichéd as it sounds). Best way for me to describe it is to call it a sensory experience. I don't know why, but I have a strange attraction to it, the visual aesthetic is strangely magnetic. It comes at you with its sensuous shapes but at the same time draws you in creating a distorted sense of space...from such a small space! It is one of those curious pieces that holds within its grasp the potential to become an iconic piece of art. That, or a perfect opportunity to squeeze some kind of metaphysical meaning or interpretation for those inclined towards the esoteric. Last century, we had Warhol's oddball Campbell Soup to lift an everyday object into an iconic representative 'zeitgeist' of the age, perhaps in this new century, we have a new contender..."

- Alvin Yang, Australia, March 2008

What Wes said...

"Sand’s latest work (the resin/plexi series) must be seen in person to be fully appreciated. Highly polished surfaces after a rain shower is the best way I can describe the superficial treatments of these pieces. Sand has manufactured two varieties of these “water-beaded” panels: deep black and clear-translucent. The black versions are magnetic and serious in their depth while the clear-translucent ones possess an optimistic jewel-like character. It is hard to say which style is more successful; they alternate in importance. The obsidian density rules one day, the sparkling crystal the next. Regardless of this power struggle, they both offer the viewer fascinating visual qualities."

- Wes Kalloch, Massachusetts, December 2007

SAND T KALLOCH

SEMI-SIMPLE: DOT (point), LINE, SURFACE, COLOR AND LIGHT

Wednesday, June 13, 2012

Structure and Chaos

What Andre said

Lines + Droplets Series

Recorded Silence Series

Field Series

Quiet Series

Time, Space + Energy Series

Abstract Landscapes Series

Stillness In Motion Series

MORE IMAGES+INFO

Time, Space + Energy Series

What Mim said

Field Series

What Susie said

Detail shot: Gray

Recent article about SAND's works written by Roanna Forman

Field Series

Blog Archive

Detail shot: BLUE

SAND T'S ART AND ACTIVISM: The Correlation Between Sand T's Personal and Activist Work

Field Series

Meditative Minimalist? by Yusuf Martin

Field Series

Comment by Marjorie Kaye

Field Series

Comment received about my work

Field Series

Comment by Jennifer Kostuik

Field Series

What Susie Nielsen said...

A permanent collection of the National Art Gallery in Kuala Lumpur Malaysia

VIEW THE ORIGINAL CREATIONS

What Roanna said...

Lines + Droplets Series

What RouWen said...

What Caroline said...

Lins + Droplets Series

What June said...

What Daniel said.

What Kim said...

Sky Map #7 Black

What Alvin said...

What Wes said...