Sandi Fellman
Lily of the valley, 1998
Toned gelatin silver ptint
30 x 40 inches
edition of 15
May 13 - June 27 1998
Lily of the valley, 1998
Toned gelatin silver ptint
30 x 40 inches
edition of 15
For her debut exhibition with the Edwynn Houk Gallery, Sandi Fellman has produced a series of oversized flower abstractions, subtly toned in sepia. In keeping with the sensuality of her previous work, these images were created with a delicate sensibility and attention to beauty, while moving into the realm of abstraction.
The flowers in this body of work are presented "larger than life" (30 by 40 inches) with a fluid energy that is a departure from the traditional floral study. Fellman examines her subjects from a modern perspective, revealing flowers’ abstract tendencies while remaining true to their feminine and organic nature.
Many of the photographs appear to be photograms of flowers; the opaque contours of cosmos blossoms are compressed into an abstract pattern; the petal of a tulip becomes a translucent veil. The detail of a peony is rendered with photographic crispness, providing a dramatic counterpoint to an impressionistic backdrop. Ethereal, velvety, delicate or dancing, the very essence of flora permeates the series. At once romantic and contemporary, Fellman’s unique interpretation of a favorite photographic subject rides the cutting edge of an artworld sensibility which is once again embracing beauty.
Sandi Fellman’s work has been featured in numerous one person and group exhibitions in the United Sates, Europe, Japan and Australia over the past fifteen years. Her photographs are in the permanent collections of The Museum of Modern Art, The Metropolitan Museum of Art, The Bibliotheque Nationale, The Center for Creative Photography, Los Angeles County Museum of Art, Polaroid International Collection, The Minneapolis Institute of Art, The Houston Museum of Fine Arts, and in various private collections.
Fellman’s work is published in the anthologies A History of Woman Photographers, Legacy of Light and The Indomitable Spirit. In 1986, Abbeville Press published The Japanese Tattoo, with photographs and text by Fellman, which is now in its sixth printing.
The flowers in this body of work are presented "larger than life" (30 by 40 inches) with a fluid energy that is a departure from the traditional floral study. Fellman examines her subjects from a modern perspective, revealing flowers’ abstract tendencies while remaining true to their feminine and organic nature.
Many of the photographs appear to be photograms of flowers; the opaque contours of cosmos blossoms are compressed into an abstract pattern; the petal of a tulip becomes a translucent veil. The detail of a peony is rendered with photographic crispness, providing a dramatic counterpoint to an impressionistic backdrop. Ethereal, velvety, delicate or dancing, the very essence of flora permeates the series. At once romantic and contemporary, Fellman’s unique interpretation of a favorite photographic subject rides the cutting edge of an artworld sensibility which is once again embracing beauty.
Sandi Fellman’s work has been featured in numerous one person and group exhibitions in the United Sates, Europe, Japan and Australia over the past fifteen years. Her photographs are in the permanent collections of The Museum of Modern Art, The Metropolitan Museum of Art, The Bibliotheque Nationale, The Center for Creative Photography, Los Angeles County Museum of Art, Polaroid International Collection, The Minneapolis Institute of Art, The Houston Museum of Fine Arts, and in various private collections.
Fellman’s work is published in the anthologies A History of Woman Photographers, Legacy of Light and The Indomitable Spirit. In 1986, Abbeville Press published The Japanese Tattoo, with photographs and text by Fellman, which is now in its sixth printing.