ArtView May 2015 - Page 42

Pyramiden are bobbing heads with big brown eyes and asymmetrical broken tusks. Deft swimmers, they are also efficient eaters – walruses suck mollusks out of their shells, turning them inside out with their powerful suction. They can locate and eat a shellfish in about 6 seconds, which means they can eat quite a few mollusks in one dive. The mounds of walruses form a curious organic brown shape beneath the severe, pointed rock and ice formations that poke angularly into the sky. Steep, white mountains revealing black outcroppings resemble an inverted Robert Motherwell painting. Already abstracted, it’s a rare and imposing sight. I am working on paintings of the water now. Normally I abstract representational subject matter. How do I abstract an already abstracted waterscape? The ‘line’ between representational and abstract imagery has already been set on the side of abstraction before I begin. I am excited about these aesthetic explorations. I suspect my paintings of the Arctic Ocean will be more abstract than my paintings of the other oceans. But who knows? Maybe they will capture the sense of wonder and surprise I experienced in a land peculiar that is both abstract and a landscape at the same time. Danielle Eubank is a painter interested in exploring the relationship between abstraction and realism. She is a recipient of the Pollock-Krasner Foundation Grant 2014-15. In addition to her studio practice, Ms. Eubank is an expedition artist. She sailed aboard the barquentine tall ship, The Antigua, on an expedition to the High Arctic in Autumn 2014. She was an Expedition Artist on the Phoenicia, a replica 600 B.C. Phoenician vessel that circumnavigated Africa and was the Expedition Artist on the Borobudur Ship, a replica of an 8th century Indonesian boat that sailed around the African continent. She has painted the Henley Royal Regatta since 2011. A short documentary film about her work premiered at the Newport Beach Film Festival in 2012.