|Sand T Kalloch, Dimensions of a Musical Art for Light, 18x18, Mixed media on canvas, SOLD|
|Sand T Kalloch, Quiet Zone and Silence in Motion, 8x8, Mixed dia on wood, SOLD|
"... 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 ... read more >>>
"When the world is at odds, you can look at art that grapples with big issues or you can look at art that calms and rejuvenates. This week, I choose the latter. Sand T’s show of mixed-media paintings at Lanoue Gallery refreshes like a storm sweeping out humidity and cooling the air. The abstract works impress with technical finesse and mastery of material. The artist covers a wood or acrylic panel with a single color of paint; on top of that she layers graphite lines and coats of clear resin. With the panel laid flat, she finishes each piece with drops of resin — plop, plop, plop! — which cover the paintings with irregular rounds. They read like raindrops on glass. Resin can be a beast to work with, and Sand T controls it skillfully."
"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.
"In German philosophy, Martin Heidegger reveals the concept of the Augenblick, a specific minimal moment in time – quite literally the blink, or glance of an eye, time frozen, reduced to its smallest component part. And in many ways Augenblick may be enough to describe Sand T Kalloch’s work, where drops of epoxy resin, on clay covered board, come to represent, in the eye of the beholder, infinite time and space encapsulated..." Continue reading
"... Luminous dried resin drops build patterns that look like individual trapped drops of water. Random irregularities can make the drops look like cellular activity or even malfunctioning of motherboard, in the mostly rectangular grids. Careful timelines filled with playful surprises, they are exciting viewing."
Roanna Forman, artscope magazine Jan/Feb 2008 issue... CLICK HERE to read more.
RouWen Lin, The STAR Magazine Kuala Lumpur Malaysia, March 2009.
"...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
"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
"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
"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