Claire Edna Hurrey’s Artist Statement 2013:  25 Years of Painting

The two images below give an idea of the expanse my visual journey has taken in the last 25 years.

Stacked Bowls
Stacked Bowls – 12 x 9″, oil on canvas, c.2012
More Than Meat to Eat
More Than Meat to Eat – 5-1/2 ft x 8 ft, oil on canvas, c.1991

(Please look through my website galleries for a more extensive exhibit of my work.)

My goal in the past five years has been to create work without ambiguous space. I draw, paint, and work in clay, to think through the process of what is seen and what is not seen; and how what is not seen is equally foundationally present and essential to what is seen.

In this process of discovery through a mapped visual journey, it became apparent that not all points in space were important in the translation of three-dimensional objects onto a two-dimensional surface. In fact, the measuring of some points is not only irrelevant to a representational translation but could in fact detract or mislead the illusion to a flatter appearance.

My work has spanned contemporary expressionistic intuitive gesture as finished product with flat to ambiguous space to traditional skills in accurate drawing and painting in spatial illusion. Now I play with my skills to find what objects interest me, and delight in my abilities to translate three- dimensional objects onto a two-dimensional surface with accuracy.

I consciously think how I can use the skills I possess to visually present my idea, like looking for just the right word to express my meaning. I write notes and draw sketches as I work. I keep recipes for colors as I mix them for reference later. I record changes in composition, or object, or light direction to make for the next drawing or painting. I note what worked and what didn’t to convey my meaning, and what visual images cross my mind for later work. A sketch book is near my bed to record visual thoughts when I awake. I work with a small group of artists for critique and feedback on each other’s work.

The first 4 images are small visual poems.

Lilacs and Bird
Lilacs and Bird – oil on gesso bord, 12 x 16″, c.2010
Pink Cups
Pink Cups – oil on canvas, 12 x 9″, c.2012
Persimmon Slices II
Persimmon Slices II – oil on canvas, 9 x12″, c.2012
Green Cups
Green Cups – oil on canvas, 12 x 9″, c.2012
Below is my clay work and drawing using a proportional tool.

Clay Torso
Anatomical study of torso in clay with drawing – 2012
Face Muscles in Clay
Close up of the muscle texture of the face – 2013
Clay Arm
Anatomical study of arm in clay & placement drawing – 2012
Clay Head
Anatomical study of head in clay – 2013
The next two placement drawings are from still life using a proportional tool. They are from the Angel series.

Where Angels Fear to Tread
Where Angels Fear to Tread – 12 x 16″, pencil on paper, c.2010
Fallen Angel
Fallen Angel – 8 x 10″, pencil on paper, c.2010
The next 3 images are samples from 10 years of plein air painting and studio drawing inspired by the outdoor work from the Yakima River series.
Off Hayward Hill
Off Hayward Hill – oil on gesso bord, 8 x 10″, c.2009
River Water
River Water – oil on gesso bord, 8 x 10″, c.2009
Mud Rocks at Sunset
Mud Rocks at Sunset – oil on claybord, 8 x 10″, c.2009
Below find a charcoal drawing from a series of charcoal studio work inspired from the outdoor paintings, and a large studio oil painting also inspired from the outdoor work.
Shadows – charcoal on paper, 40 x 30″, c.2005
Ode to Joy
Ode to Joy – oil on canvas, 59-1/8 x 95-7/16″, c.2003
The last 4 images are samples from my MA and MFA graduate work.
To Live or Let Die
To Live or Let Die – 5-1/2 ft x 8 ft, oil on canvas, c.1987
Food – 4 ft x 3 ft paint stick, charcoal, tempera, pencil on paper, c.1987
When the Madonna's Been Raped, Then What?
When the Madonna’s Been Raped, Then What? – 5 ft x 8 ft, oil on canvas, c.1991
The Puppet Master
The Puppet Master – 5 ft x 8 ft, oil on canvas, c.1991