Zolita Sverdlove
USA (United States)
http://www.love-art.com
Kunstart: Malerei
Stil: Gegenständlich
Statement:
The landscape of California is both breathtaking and ominous. Freaky things happen in Nature here.
What interests me are creepy skies over the mountains that make the mountains into something out of the Hobbit.
What should not be happens in reality: postcard sunsets, crescent moons that hang at the wrong angle, harvest moons, clusters of jeweled lights, glittering palms under black skies, red sunsets with purple black water glittering under the clouds.
I am fascinated with the ever-changing, dramatic expanses of color and light.
My work is involved with both the gorgeous and creepy, the awesome and the frightening.
I like to deal with the real that appears unreal. This dichotomy: What is real? What is unreal? This is the essence of my work.
Vita / Lebenslauf:
Zolita Sverdlove received her B.F.A. from the Cooper Union Art School. She also studied with Richard Diebenkorn at the San Francisco Art Institute.
Her art work has been shown in numerous venues, including the Allan Stone Gallery (New York), the Cooper Union (New York), Hooks-Epstein Gallery (Houston), Longview Museum (Texas), Valley House Gallery (Dallas), Brand Library (Main Gallery in Glendale), Orlando Gallery (Los Angeles), the Maturango Museum, and the University of Judaism.
Selected Collections
• Owens-Corning Collection, Toledo Museum, Toledo, OH
• Dallas Museum of Fine Arts, Dallas, TX
• Marymount College, Marymount, NY
• Purdue University, Lafayette, IN
• Home Federal Savings, Los Angeles, CA
• Lomas and Nettelson Corp., Dallas, TX
• Fluor Corporation, Irvine, CA
• Holiday Inns, Corpus Christi, TX
• Grand Hotel, Houston, TX
• Bronson, Bronson, McKennon, Los Angeles
• TBJ Financial, Los Angeles
Josef Woodward wrote in the Los Angeles Times:
"Drawing on a subtle and rough-hewn painterly gift, Sverdlove shows landscape paintings of the great outdoors in our veritable backyard, although we may not immediately recognize the scenes.
Her landscapes are just impressionistic enough to throw off the scent of familiarity, and she displays a romantic's sense of transference, finding allusions to other places. Thus, she views "New Mexico Clouds Over L. A." and an uncharacteristic purple haze in "Winter Skies Over Santa Barbara."
"Color plays a central role in her vision, as with the outburst of yellows and oranges in Sea of Flowers, consuming the lower half of the canvas. This subject could have been gaudy in the wrong hands, but Sverdlove's grace and balance save the day. These are paintings about nature as well as about the pure inner life of painting."
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