Elizabeth D. Zeisler
My affinity for art comes from both sides of my family. From my father’s heritage, I am a direct descendant of the great Russian master icon painter Alexandrei Rublev, who lived in the era of Ivan III, at the juncture of the 14th and 15th centuries and was noted for his individualistic color. Rublev created a window from Russia into the sophisticated art world of Europe. Resident on my mother’s family tree, there is the representational painter, Marc Klionsky, who is portrait artist to well-known [
see more]
Elizabeth D. Zeisler
My affinity for art comes from both sides of my family. From my father’s heritage, I am a direct descendant of the great Russian master icon painter Alexandrei Rublev, who lived in the era of Ivan III, at the juncture of the 14th and 15th centuries and was noted for his individualistic color. Rublev created a window from Russia into the sophisticated art world of Europe. Resident on my mother’s family tree, there is the representational painter, Marc Klionsky, who is portrait artist to well-known figures like Elie Wiesel.
During my formative years, I spent six months living in Ecuador with a native Spanish family, and here, I fell in love with the naive, wooden Kitchua Indian sculptures. I started seriously as an artist when I attended Cornell University where I studied under well known modernists, like Jim Dine. Under an exchange program Cornell had, up and coming New York scene abstract expressionist artists were invited to teach for a semester. I learned that you continually need to experiment, as well as take personal risks, and break rules. I received my masters in art education at the State University of New York at Buffalo. Finally, I found my voice in the marriage of the digital camera, computer and painting. That is, digital technology, and software inform the work. This model has helped to reinforce the way in which color theory creates a “color harmony”.
In 2003, When I retired from a profession as a principle scientist, I began to study Color Theory, and soon after, I learned that color theory has been applied to music. Consequently, it occurred to me, that there are cross-discipline gains to be found in other areas of art: why has mathematics not been applied more frequently to color theory? Thus, for the past several years, I have been reading numerous books on color theory and applying them to mathematics (set theory) to explore practical applications for using mathematics as a basis for color design in art. I am currently working with advice from colleagues at Montgomery College in Rockville, Maryland, on a hypothesis that “mathematics when applied to calculus (set theory) using patterns of color can lead to a system of universal harmony in paintings”. Most of the paintings, prints, and drawings I have created in 2007 reflect this proposal, insofar as color design is explored to create overall harmony e. g, via color juxtaposition, quantity and quality.
Currently, my art is displayed at the Visionary Art Museum in Baltimore MD.
[
hide]
Special Offer:
