DIANE EDSTROM

My curiosity about that which is hidden and my interest in intentionally obscuring that which appears to be the truth, leads me to work with translucent materials that create tiers of surface in a shallow space. The veil is used as a barrier and an attraction. One is invited in but, at the same time, one is always confronted by separation. These veils speak to the impossibility of satisfied desires. The installation pieces are cast in beeswax set on layers of gauze or other materials. These pieces, as with some paintings, reference my fascination with repetition.

When I make art the "rightness" of the act is sensed beyond, outside of, rational thought. To explain a work leads one away from the truth and to describe a work fragments it. It is though I move forward to the past. What experiences that have contributed to the "me" that I am, are reduced to a basic simplicity that expresses itself in a quiet but steady "YES".

Diane Edstrom Portrait
1943 - 2010

Caryatid

(a priestess of Artemis (Goddess of the hunt))
Greek archeology, a female figure used as a column to support an entablature

For Diane Edstrom, woman warrior, fearless painter


Let me capture this image of you the last time we were together:

You stood framed in the doorway of your Jamaica Plain house,
Leaning with casual elegance against the carved door frame of the house
your own Italian grandfather had built two generations earlier.

You waved and smiled in the strong January sun
And I remember every detail as I try to capture your strength and beauty,
Resilient as the hard woods your grandfather had chosen to build his family temple.

But wait, let me imagine myself an outsider,
out for a drink of Spring air in that January thaw.
Dodging melting snow, I turn a corner, my head down.
Then, looking up to get my bearings, I’m forced to stop:
I see a shaft of light, a figure, a doorframe.
Light and color vibrate, fusing figure and doorway.

I must take a longer look at the image.

Eager to grasp the beauty of the total woman
I’d explore the landscape of her hands, cheekbones, and eyes,
The patrician uplift of the head, centered in its own universe.

And yet, even were I a stranger, I would have noticed that
beneath the beauty of those wide deep eyes,
and the perfect new-born hair capping the shapely head
that here there was something amiss.

Something had given that elegant figure pause,
Forcing the eyes more inward than natural in one who so obviously ruled her world.

If my imagination and being combined, I would draw this passerby aside
and describe the strength behind the beauty,
 The sharp wit beneath the cap of hair,
  The expressive hands that color landscapes to take the breath,
   The generous nature leading others to create.

I would be more personal and anecdotal, describing for the stranger
the richness of her eyes as she sat facing an eager sun in my office one spring afternoon:  I had remarked, “Your eyes are remarkable—What color are they? Blue? Brown?
 Green? Give me a painter’s description!”
  “All of the above!” she had laughed. “They’re nothing special.”
But I still can’t describe the kaleidoscope of color in those cat-marble eyes, the center of her creative world.

And yet, let me reconsider my offer:

You know, I don’t think I would mention anything to a casual observer that January day,
Forget the words.
Let image and color speak for themselves.
Sometimes a glancing image is a completed canvas.

Carol Barron, 2007

 
Click on the images to enlarge.
The Other Shoe, acrylic on polyester with toy soldiers and eggshells, 2007 The Other Shoe (Detail), acrylic on polyester with toy soldiers and eggshells, 2007 The Other Shoe (Detail), acrylic on polyester with toy soldiers and eggshells, 2007
The Other Shoe (Detail), acrylic on polyester with toy soldiers and eggshells, 2007 100 Thoughts, beeswax and gauze, 2004 Metas, beeswax and gauze, 2004
To Travel, beeswax and gauze, 2004 Demi-loft, beeswax and gauze, 2004 Demiloft (Detail), beeswax and gauze, 2004
Demi-loft, beeswax and gauze, 2004 Piranesi, 2004 En Transi, 2003
'Phasi', acrylic, polyester, gauze, beeswax, 2003 'Phasi (Detail)', acrylic, polyester, gauze, beeswax, 2003 Already it is Dusk, 96" x 104" x 18", acrylic on saatelene & veil, 2001
Velo, 82" x 52", acrylic on polyester & veil, 2001 Night/Day/Night, 69" x 239", acrylic on polyester, 2001 Night/Day/Night (Detail), acrylic on polyester, 2001
Rilke, 108" x 72", acrylic on linen & nylon, 1999 Rilke #2, 96" x 72", acrylic on linen & nylon, 1999 Foglia/foglio
Rimani (Stay), 74" x 52", acrylic on lamcron, 1998 Rimani #2 (Stay), 74" x 52", acrylic on lamcron & veil, 1998 Parapraxis, 76" x 52", acrylic on lamcron, 1998
Parapraxis #2, 74" x 52", acrylic on lamcron, 1998 Proxy, 72" x 108", acrylic, velvet, lamcron & objects, 1997 Your Desire In Me, 1997
12 Untitled Pieces, 4' x 13', acrylic on stainless steel & gauze, 1996 Double, 6' x 9', acrylic on lamcron, 1993 Double (Detail), acrylic on lamcron, 1993
Threnody, 14' x 9', acrylic on lamcron, 1993 Threnody (Detail), 14" x 14" Panels, 1993 Planes, 8.5' x 13', acrylic on lamcron, 1992
Obsessive Drawings, 8.5' x 13', acrylic on lamcron, 1992 Gourds, 4' x 15', acrylic on lamcron, 1992 Gourds (Detail), 1992
Goldberg Variations, 32 - 20" x 30" panels, acrylic on lamcron, 1990-91 Goldberg Variations (Detail), 1990-91 Successful Marriage, 29" x 46" x 31", grass on table, 1989
© Copyright 2007