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The Sheer Dazzle of Glass

Mar 24th 2015 at 7:08 PM

The Lynden Gallery exhibition of artist Robin Jebavy includes just eight works, but they are big, often about the size of a door, so it doesn't feel like a small show. She also has abundant technique, so the exhibit doesn't lack for showmanship. Her paintings are often still lifes, concentrating on multiple glass objects, in a style that is dense and layered, capturing complicated reflections and points of light in works the Lynden exhibition calls crystalline labyrinths.For more hot-sale information about Candle Stick Series Glassware,Hot sale Candle Stick Series Glassware you can search our official website and buy Candle Stick Series Glassware. The Dutch masters of the Baroque era have been a particular influence on her, Jebavy says (she describes her work as neo-baroque), but her work seems quite different in approach.

Jebavy's father is an artist and art teacher. She was raised around and immersed in art, visiting museums, seeing her father work. But her style is very different, she says: He's a Minimalist and I'm a Maximalist. Jebavy describes her undergraduate study abroad in Florence, Italy as a crucial experience, both artistically and personally. She switched from making self-portraits to larger, quite different works during graduate school at the University of Iowa. She created installation pieces that sought to immerse the viewer in a metaphysical space, and her current work, as the Lynden describes it, is to offer the viewer an experience that evokes the original, sublime, oceanic feelings of union with the strange and mysterious other, of self with universe.

This goal is quite different than that of the Dutch Masters, who were far more grounded and sensual in their paintings. They developed the still life in response to the decadence the Catholic Church, often painting a carefully selected grouping of objects symbolic of the passage of time and suggesting the fleeting nature of sensual pleasures. Their meticulous execution became a feat of virtuosity for the painter. (Ironically, they were often called vanities, essentially showing off their technical abilities as a painter.)

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