About The Work
For Elizabeth Ibarra, the color blue has long been absent in her practice. “I had blue paints for years and never touched them,” she says. “And I would ask myself all the time, why? I love the color in nature, but why am I so repelled by this color?” Blue Dance III is based on an original painting of the same name and captures Ibarra’s practice succinctly, with a thick, powerful brushstroke suggesting a female figure standing alone, suggesting strength, movement and confidence.
Blue Dance III translates one of the artist’s well-known stick-like figures, which generally suggest female forms, dancers or perhaps seekers. These spare, lanky figures, seemingly so brittle and vulnerable, and often barely visible within her fields of color, are staples of Ibarra’s vocabulary. Some stand defiantly, while others feel crippled or hobbled in some way; some suggest violence or anger, while others convey a sense of warmth and calmness. Yet in each case, they’re the result of fast, singular gestures, either by brush or marker, which are made with an extraordinary lightness of touch.
Courtesy of Simco Editions
About Elizabeth Ibarra
Duotone Lithograph on Coventry Rag 290 gsm paper with torn edges
20.00 x 15.00 in
50.8 x 38.1 cm
This work is signed and numbered by the artist.
About The Work
For Elizabeth Ibarra, the color blue has long been absent in her practice. “I had blue paints for years and never touched them,” she says. “And I would ask myself all the time, why? I love the color in nature, but why am I so repelled by this color?” Blue Dance III is based on an original painting of the same name and captures Ibarra’s practice succinctly, with a thick, powerful brushstroke suggesting a female figure standing alone, suggesting strength, movement and confidence.
Blue Dance III translates one of the artist’s well-known stick-like figures, which generally suggest female forms, dancers or perhaps seekers. These spare, lanky figures, seemingly so brittle and vulnerable, and often barely visible within her fields of color, are staples of Ibarra’s vocabulary. Some stand defiantly, while others feel crippled or hobbled in some way; some suggest violence or anger, while others convey a sense of warmth and calmness. Yet in each case, they’re the result of fast, singular gestures, either by brush or marker, which are made with an extraordinary lightness of touch.
Courtesy of Simco Editions
About Elizabeth Ibarra
Published by Simco Editions.
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