Geometry has always been important in Andrea Alonso’s painting. She uses it to construct a nearly abstract cityscape of buildings crowded in upon each other. It is the urban atmosphere of Mexico, Spain, and other Spanish language societies, but it is not unlike many American cities where low-income residences have been grouped in claustrophobic proximity.

"Night Smoker" by Andrea Alonso, Oil on canvas, 31x39in, 2018, $3000 — "Night Smoker" by Andrea Alonso, Oil on canvas, 31x39in, 2018, $3000

“My main focus is the visual representation of low-income cities and towns,” explains Alonso, “since in those places urban solutions are more spontaneous and less rigid. I try to recreate the feeling a spot gave me. I use vibrant and striking colors to emphasize the emotion and the space within these geometric arrangements.”

Whereas in the past those compositions have been dense arrangements of line, shape and color, of late, Alonso has pulled back her point-of-view to view smaller communities situated away from the over-populated cities. The buildings are still close, but the shift on the emotion of the color changes our perception. The bold, saturated yellow of “Sunny Town” captures the hot climate but it also imbues the image with hope and perhaps even joy, and the relationship of the buildings suggests a different, more old-fashioned sense of community: a small town in which we imagine life unfolds at an unhurried pace that might be the envy of the city dwellers.

Yellow is also the dominant color in “Green Roofs”, an example of the tighter urban images, but this group of paintings seem to capture this shift in a particularly logical, linear progression, from the deep blues of “Nightsmoker”, repeated as the composition begins to open up in “Town at Night”, then the introduction of warmer hues in “Green Roofs”. The green of those roofs then flows into the landscape of “Village in the Fields”, the former resting above the heads of the residents while the former surrounds the community with agricultural fertility.

"Sunny Town" by Andrea Alonso, Oil on wood 12x12in, 2018, $300

It is a simple, almost naive contrast of the different environments but a vivid expression of Alonso’s stated mission of blending the sensibility of abstract expressionism with an understanding of social problems.

In December 2018, Alonso will have a show at Studio Oh in Chicago. Currently Alonso is one of the many Louisville artists featured in the Alley Gallery public art program sponsored by the Louisville Downtown Partnership.

Alonso was one of the five finalists in 2017 ArtPrize Pitch Night in Louisville, and she has paintings featured in Art Yellow Book #2, by CICA Museum, South Korea.

Hometown: Monterrey, Mexico
Education: Architecture degree University of Monterrey, Mexico; MBA in Administration, Rioja University, Madrid, Spain.
Website: art-ark.com
Instagram: art_ark_

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"Green Roofs" by Andrea Alonso, Oil on canvas, 31x39in, 2018, $3000 — "Green Roofs" by Andrea Alonso, Oil on canvas, 31x39in, 2018, $3000

"Village in Green Field" by Andrea Alonso, Oil on wood, 12x14in, 2018, $300 — "Village in Green Field" by Andrea Alonso, Oil on wood, 12x14in, 2018, $300

"Town at Night" by Andrea Alonso, Oil on wood, 12x12in, 2018, $300 — "Town at Night" by Andrea Alonso, Oil on wood, 12x12in, 2018, $300

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Painting

Vignette: Celia Kelly

Guest User · December 5, 2017

"Spencer County Farm Lane" by Celia Kelly, oil on canvas, 14x18in, 2017, $300 — "Spencer County Farm Lane" by Celia Kelly, oil on canvas, 14x18in, 2017, $300

Celia Kelly is a landscape artist working primarily ‘en plein air’. Kelly enjoys the challenge of “navigating a variety of conditions” – discerning color, form, and space within the constantly changing natural light. Plein air might seem old-fashioned, but a better description might be ‘timeless’’, for many artists a nearly spiritual relationship with the mercurial personality of the environment. Temporality shows up on the list of media for many contemporary artists, yet it has always been a part of the plein air experience, a tradition for painters that dates back several hundred years.

"Springhill #3" by Celia Kelly, oil on panel, 11x9in, 2017, $100 — "Springhill #3" by Celia Kelly, oil on panel, 11x9in, 2017, $100

“A few years ago, I switched my focus from painting urban scenes to rural landscapes,” Kelly tells us. “This has allowed me to leave the city, spend an entire day outside exploring vast open spaces. I have come to love the geometric compositions offered through open fields, hillsides, rows of trees, highways, and still waters. I also look at stagnant, standing structures (such as a barn) and see how it fits into this natural environment. One of my favorite subject matters are fields of grapevines, because of the symmetrical arrangement and cultivation is involved within the rows.”

“I like to describe my painting style as one that straddles a divide between abstraction, representation and impressionism. There is a spiritual connection that occurs between landscape artist and the landscape. I attempt to capture this through the use of color, value, and expressive brushstroke. In other words, I don’t see the need to paint every leaf. When one travels, impressions are made, and I try to do justice to my own impressions of these landscapes through my work.”

Most recently, in August, Kelly participated in the notBIG group show at M.S. Rezny Gallery in Lexington, Kentucky.

Hometown: Louisville, Kentucky
Education: BA, Centre College; University of Louisville, post-baccalaureate studies, Painting
Website: celiakelly.blogspot.com