Jane Sherrill

Paintings

studio: 20 Vernon Street, 6th Floor West, Studio #80
email : jane@janesherrill.com
web : www.janesherrill.com

 

  • Beach Day, Crane Beach
    2017, acrylic on wood panel, 16 x 20 inches
  • Striped Shirt, Corn Hill Beach
    2017, acrylic on wood panel, 24 x 30 inches
  • Roots
    2017, acrylic on wood panel, 18 x 24 inches
  • Forest
    on left: Locust, Truro, acrylic on wood panel and yupo
    on right: Tree of Life, acrylic on yupo with branch
 

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statement

All of my artwork is about energy, movement and change. I'm interested in how opposites exist simultaneously—how we live with inconsistencies. I think of my task as documenting the wondrous with paint and brush. 

In 2010 I embarked on a multi-year project celebrating the beauty of our world in paint. My interest is not in the extremes but in the everyday—what we naturally pass and often ignore as we move through our lives. I photograph environments that interest me and use my photographs to inspire paintings using acrylics mainly on wood panels and yupo (an archival plastic "paper").

I began by painting seascapes and that's what I've become known for—waves and skies along various beaches of the northeast atlantic coast. While painting a series of waves off Point Pleasant NJ, Hurricane Sandy hit and wiped out the beach. This inspired in me an urgent need to document the world around me in the face of climate change. 

Though I've achieved a certain amount of notoriety with my seascapes, I continue to experiment and push forward. Recently I've become enamored by the bark of trees around my studio in Somerville MA. Many of our New England trees are covered in lichen and moss which glow with extreme color when wet and that has become my latest subject. I'm also interested in the fissures in bark, vines and fungus that trees feed.

I believe the spiritual task of our times is to learn to live with differences, how to create a unit without demanding agreement/similarity. I address this issue by combining multiple paintings to create one whole using work that was intended to stand alone. I've noticed when I leave a small space between the paintings my eye connects them visually healing the disparities so they appear to be one image despite clear visual inconsistencies. 

In the last few months I've begun creating a forest of trees that rise to about 8 feet. To "grow" this forest I work with a mixture of media including acrylics on wood panel and yupo, adding real branches and other non-traditional materials. I've been thinking of the tree as a form of Noah's Ark because it carries and sustains so many life forms, including our own.