Elaine Smollin

2013 - 2010

CANTON SERIES 2013

CANTON 1

CANTON 2

CANTON 3

CATSKILL 4

CATSKILL 1 2013

CATSKILL 3 2013

CATSKILL SKETCHBOOK 7 X 4 FEET 1 OF 3

AT AMUR RIVER 2

AT AMUR RIVER 1 11 x 11"

CANTON 6 12 X 12"

AMUR RIVER 6

AT AMUR RIVER 3

CANTON 9 2013

CANTON 8

CANTON A2

CATSKILL 8

CANTON 13

CANTON A5

CANTON 4

CATSKILL 10

CANTON 11

CANTON 12

CANTON 14

AT AMUR RIVER 6

AMUR 1

AMUR 2

AMUR 3

Charon Chooses a Profession 2011 7 X 4 FT

CATSKILL 12 2013

The Invention of Drawing 2012-2013

The Invention of Drawing 2

"The Invention of Drawing"

Photographic reproduction on bound drawing notebook

11 x 18 inches

is my compilation of thoughts on perception by

Gademer, Husserl, Jaspers and contemporaries

The 'Drawings and Dialogues' are an 'invention' of

women looking at the limits of territory on the 3rd century

Roman border at the Taunas Mountains

"The Invention of Drawing"

Scenes from the Taunus Mountains

To K and E

Catskill Sketchbook 2012, Oil wood, 7 x 4ft

CANTON 15 12 X 24"

CANTON 2013 12 x 12"

Histories behind the Large Figure Paintings

May 2013 7 x 4 feet

White 2005 7 x 4 feet

"Knowing and The Other, No. 1- Blue" 7 x 4 ft from the the series of 20+ paintings. The series considers figures in antiquity as painting analogies for events in modern history. The male figure is an homage to young men whose experience of WWI forever altered society. The plank at his feet is derived from a period photograph of wood-laid trails in Verdun. (Blue refers to Kieslowski's Film, "Blue".) The figure is nude in homage to youth and recalls Roman statues on which anatomy was often destroyed as acts of revenge but is replaced here in preference to life, peace.

The Small Figures

Charon as a Boy

Life of the Archer No. 1

Study for the Woman Who Rode Away No. 3

Medieval art and archaeology might have been the central influences of my artistic life had immersion in film theory and political philosophy not come about. Most of the large figure paintings recall the standing figures of medieval churches and "ethnographic" paintings across time. But they are also about scenes and enactment, specifically the painterly question of arresting implied violence in earlier art or other abberations and making peace in their stead.

"Knowing and the Other: White" 7 x 4 ft. (Right) and its historical model (Left) The toddler-deities' love embrace is transformed into adult play in my 7 x 4 foot painting.