Monotypes 1990-2015

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Diebenkorn offered startling revelations as he worked with me, including the ability to see the “bones” of my painting. He also unburdened me of the notion that I must decorate these bone, these compositional forms I created, with a “skin” of high finish. The message was that there were no rules, except those which posed to him something to “bump up against” in his art. “Artists can do anything,” he said. In the simplest way, he gave me three ideas I embraced thereafter, however unconsciously. First, I could believe forever, as he did, that the abstract and the real are indistinguishable in painting. Second, I could continue the Modernist exploration of all poles of expression without seeming timid…Third, my mysterious need to compose landscapes, from my wide travels…probably lay buried in my unconscious displacement of early childhood bliss and terror onto rural Virginia, where I grew up.”

Joellyn Duesberry, 2011

Richard Dienenkorn also suggested Joellyn try working on the press in monotypes, which she took to with her singular passion and unique aethstetic. According to master printer Mark Lunning, with whom Joellyn work for year, she would use her time on the press to deconstruct and reconfigure the landscape paintings she was contemplating painting later in oil on linen.

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