From Monet to Breitman, via Horowitz and Bueller
Nearly two centuries ago, Monet and his Impressionist peers showed the world that a cohesive painting could be created by breaking up brushstrokes. This is well illustrated by a scene in 1995’s Clueless:
Georges Seurat took this technique to the extreme, condensing strokes into dots and pioneering the Neo-Impressionist form of Pointillism. These tiny adjacent dots of contrasting colors effectively create a trompe d’oeil for the observer. Standing up close, you can see each dot, but at a distance, you perceive new colors and rich textures. You can see this phenomenon at work when Ferris Beuller and friends stared down Seurat’s Grande Jatte on that infamous day off.
Paradoxically, artist Laura Breitman advances the concept once more by combining it with an even older one–the collage. Just as artists have done since the 10th century in Japan, she uses bits of material to create her work, but Breitman juxtaposes them in the painstakingly precise, intricate manner of the Pointillists. The effect is both rich and unified. In her own words:
I am committed to expressing how light interacts with form and the task of fooling the eye. Thousands of pieces of fabric are often contained in each work. Attention to detail is my way of capturing viewers, bringing them in closer so that details meld into shapes and color – which is often the case when we contemplate an object. It is this type of meditation and study of individual elements that trigger the kinds of thoughts that sweep through our minds and take us by surprise. My work is meant to inspire these moments.
And perhaps a cameo in a coming-of-age comedy?