This body of work explores loss and recovery through the lens of post-wildfire regeneration
'Forma Vitalis', ink on canvas, 27 x 35 in
'Arbor Dance', ink on canvas, 27 x 35 in
'Emergence', ink on canvas, 27 x 35 in | Unavailable
'Vessel', ink on canvas, 27 x 35 in
'Carbon Memory', ink on canvas, 27 x 35 in | Unavailable
'Aftermath', ink on canvas, 27 x 35 in
'Rootrise', ink on canvas, 27 x 35 in
'Habitat', ink on canvas, 27 x 35 in
'Life Shoots Through', ink on canvas, 27 x 35 in
'Ash and Flame', ink on canvas, 27 x 35 in
'Murmur', ink on canvas, 27 x 35 in
'Gaze', ink on canvas, 27 x 35 in | Unavailable
'Verdant Alchemy', ink on canvas, 24 x 30 in | Unavailable
'Waterborn', ink on canvas, 18 x 24 in | Unavailable
Artistic Influences
In the current body of work, the burnt tree forest evokes dreamlike surrealist landscapes reminiscent of Max Ernst, providing a stage for biomorphic nuances akin to Joan Miró's playful symbolism. The guided interplay of ink and charcoal wash, echoing Wu Guanzhong’s calligraphic landscapes, resonates with the autonomy of form pursued by Piet Mondrian's neoplastic ideals. The deliberate eradication of any human imprint in brushwork pays homage to the abstractionist purity advocated by Kandinsky, alongside the subtle, earthy hues explored by Georgia O'Keeffe in organic abstraction. Underpinning this visual language is a moment in the process that quietly acknowledges Helen Frankenthaler’s stain paintings, where dilution and absorption become agents of atmosphere rather than gesture. Through this nuanced fusion, the work initiates a visual dialogue that contemplates perpetual renewal, both in nature and in human experience.
It all began with a charred tree discovered during a forest stroll. This tree, its branches sprawled like severed limbs, initially appeared lifeless. However, upon closer inspection, the artist unearthed a bustling ecosystem thriving amidst the scorched remains. Insects, amphibians, indigenous wildflowers, and grasses had ingeniously found a foothold amid the desolation. Capturing this revelation through a series of macro photographs, Bell employed them as a reference for her studio work.
Method and Process
Drawing upon charcoal harvested from that very tree, ink, and a copious amount of water, Bell seemingly attempts to quench the flames that once ravaged the landscape. Granting water a remarkable degree of creative autonomy, the artist views it as a collaborator imbued with its own agency, fostering an embrace of serendipity within her artistic process. Though collaborative in nature, the painting itself assumes a distinct will.
When delineating tree branches or other organic forms, the artist seeks to leave no discernible brushstrokes, striving to remove any trace of human intervention from the body of the painting.
Moving Image
