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“[…] what is important to him is allowing form to arise and to disappear, to emerge and to subside […]”
Max Raphael’s observations about Goya’s and Frans Hals’s painting style also applies to Pat Rosenmeier: painting is a constant modelling with colour for all of them.
Rosenmeier uses very moist acrylic paint; the canvases are placed on the floor and the picture is just a short distance away. These are the circumstances in which she makes decisions: to stop or to continue painting. Everything looks different when the paint has dried. Rosenmeier paints in the no-man’s land of invisibility, as it were, in which the degree of nuances increases and visibility decreases with every layer.
Max Raphael’s observations about Goya’s and Frans Hals’s painting style also applies to Pat Rosenmeier: painting is a constant modelling with colour for all of them.
Rosenmeier uses very moist acrylic paint; the canvases are placed on the floor and the picture is just a short distance away. These are the circumstances in which she makes decisions: to stop or to continue painting. Everything looks different when the paint has dried. Rosenmeier paints in the no-man’s land of invisibility, as it were, in which the degree of nuances increases and visibility decreases with every layer.