Artist Statement

Elizabeth H. Geisler, Fine Art Painter in her studio in Sausalito, California

Water

I am driven to create contemplative, serene images and choose patterns and colors that evoke this mood.  I am particularly drawn to water, because it is inherently calming.  For me, water represents life, as we cannot survive without it, and it literally flows through all of us. In these tumultuous times, I find painting the intricate reflection patterns to be a meditative and sometimes, cathartic process.  I also enjoy the challenge of painting the reflections so they reside somewhere between photorealism and abstraction. Up close, the color use and brushwork read as abstraction, but from a distance, they blend into a more representational depiction. My work is about appreciating the beauty of the abstract composition nature provides, while conjuring the almost musical rhythm of the water and its restorative properties.


City & Land
My urban and suburban landscapes often depict twilight, a time of evening that has always mesmerized me. Twilight may be fleeting, but the waning light has the power to transform ordinary scenes and structures into things of beauty. The Richardson Bridge becomes a jeweled bracelet; a freeway underpass appears as a Japanese temple; a suburban street becomes mysterious and magical.

 

Figurative

My figurative work almost always includes a strong element of light, shadow or reflection. However, when I paint people or animals, my greatest inspiration comes from my emotional reaction to the subject and my desire to capture the feeling of that moment.   


Abstract

Patterns found in the natural world serve as the primary inspiration for my abstract compositions.  The “Journey of the Phoenix” and “Flight Pattern” series are my interpretation of bird migration paths captured by Doppler radar.  Initially, I felt compelled to translate into paint the fantastic patterns the birds formed against the Earth’s topography below. However, as I began to paint, the pieces became as much about texture and investigating new methods of paint application as they were about pattern and color. These pieces involve the application and removal of several layers of paint.  Some of the layers are thick and almost sculptural, while others are thin as water.  I often employ “isolation” layers of clear medium between paint layers in order to create light-infused atmospheres and add depth to the two dimensional surface.