2020 has been an especially challenging year for visual artists who often rely on Galleries and Museums to sell or showcase their work. Practice Preservation is happy to share the work of visual artists who’s work intersects with our mission, and who are currently trying to manage creating, selling, and promoting their own work without the benefit of a space where people can gather to view available items.
Each Featured Artist post will provide a link and contact information that goes directly to the artist showcased. If you are interested in purchasing work shown here please contact the artist directly and work out arrangements with them independently.
Today’s featured artist is Jennye Stubblefeild. To reach her regarding available work please contact her via email email@example.com or facebook (Jennye Stubblefield.)
Jennye Stubblefeild is a classically trained painter who attended both the Pennsylvania Academy of Fine Arts Museum/School https://www.pafa.org as well as PENN. She received the coveted Cresson travelling scholarship for travel/study abroad, the highest honor given by the Academy. She is proficient and practiced as a professional artist within the genres of landscape, still life and figure.
The landscape pictured above, panel one of a compelling Diptych entitled Deerfield, painted in oil, depicts a large expanse of landscape, rich with air, heat, and a particularly modern composition. The painting depicts a scene that might be familiar to anyone who has felt the burning warmth of an un-airconditioned car traveling cross-country through American farm fields and amber waves of grain. The division of earth from sky is low, signaling an eye level and horizon line close to a comfortable seat in waving grasses. The low horizon is intersected almost perpendicularly with the dark contrast of telephone poles, wires connecting and continuing through the endless atmosphere.
The work is unique in its depiction of vastness, of solitude, of nature and its relationship to man as it contrasts macrocosm with an implied microcosm that is present as in viewer’s relationship with the picture. It simultaneously recalls American landscapes by Stuemphig (sparse, empty, illusive,) Eakins (depicting large distances, allowing an inanimate object control over a composition, and Speight (painterly sense of atmosphere, simplified forms,) all instructors from the historic Pennsylvana Academy where Jennye studied; and who influenced techniques surrounding the American landscape.
Stubblefield has exceeded any limits which an artist might encounter through direct study of particular techniques and visual languages. She has created a unique voice in her work particular to her own vision.
To learn more about her or her available paintings please email firstname.lastname@example.org or find her on facebook. Following is an artist’s statement which beautifully describes part of her very contemporary yet historically informed process.
2014 I commenced to changing my perspective physically and mentally when perceiving land and sky. I began flying more, spending time in my favorite seat next to the window. I loved how the land became so abstract and almost unrecognizable when looking down; and clouds defying notions of gravity and solidity. Everything dissolved into simplified shapes, lines, and patches of color as we ascended. Truly abstract compositions began to flurry. I became exuberant about the possibilities and commenced documenting every trip through photography. Questions of how to represent extreme vastness, and how to show abstraction representationally always fascinated yet defied me. These conundrums were solved by simply changing the visual plane. I decided after my first experimental painting, that I would define myself as an Aerial Landscape Painter. Inventing Series of paintings and conversations about this different perspective became my passion.