Heavenly Bodies 2017

Editor: This is "Heavenly Bodies," an oil painting from 2017 by Rose Freymuth-Frazier. It gives me a strong sense of calm and solitude. The colors in the sky are incredible. What do you see in this piece, Professor? Curator: The title, "Heavenly Bodies," already directs us towards an interpretation, doesn't it? Notice how the painter uses the reflected light on the water to mirror the colors of the sky. It is almost like an icon of light, mirroring spiritual transcendence through visual cues. Does the title lead your observation in a particular direction? Editor: It does. I was drawn to the sky first, but now I see the water is just as important, acting like a gateway, perhaps? Curator: Precisely. Think of landscape painting's long association with Romanticism, that feeling of awe experienced when faced with nature’s sublimity. Consider this work’s potential to act as a window into another realm, or at least a state of mind elevated beyond everyday concerns. In a way, landscape imitates inner space. Editor: That makes me consider how the impasto technique makes the painting seem almost alive, like the landscape is breathing. Is there something more to it that connects the inner and outer worlds? Curator: Absolutely. Impasto brings a tactile quality – we feel the artist's hand, their very presence. This act translates to a form of sacred representation, where nature becomes a divine text. The colors themselves, the blues, golds, and pinks – they trigger specific emotional and spiritual resonances across cultures. What does this visual language communicate to you now? Editor: I see now the piece acts as a reflection, connecting the artist, the landscape, and even myself as the viewer to something bigger, timeless almost. Thank you. Curator: A rewarding perspective; and these paintings provide ongoing points of connection across place and time.