acrylic on canvas fluid pour technique gentle, muted colors, cream, yellow, green Dalene Alsager created soft feeling contentment peace garden

Result #1

acrylic on canvas fluid pour technique gentle, muted colors, cream, yellow, green Dalene Alsager created soft feeling contentment peace gardeners, but by the end of the 90s, she had developed a style in which she asked her viewers to imagine a whole new field of art—one that is not only nonrepresentational but also noninteractive. This was a field of the imagination, she once said. It could be found in the infinite possibilities of art.Alsager has always been attracted to the range of forms that are possible in nature, and shes taken these forms in a variety of ways. She uses them as materials, but also as signs, for the artist to use as a medium. Her work is based on the idea of transience, of the ephemeral, the temporary. It is an allusion to the way that we experience time. She has often worked with photography, and in the past she has also used her own photographs. In her earlier pieces, the images were based on photographs taken by her father; in her recent works, the images have been translated into paint and sculpture. The result is a kind of portrait of the artist as an individual artist, a transience.Alsager has also been known to use the body as a material for her art, as in the sculptures she made with her father, which have been shown in galleries around the world. The sculptures, which are made of wood, are unidimensional. They are not flat, but rather, as in an abstract drawing, they are three-dimensional. They have been cut into shapes and placed on the floor. The body, the body of art, the body of the body, in general, is not the subject of the sculpture. The work is an act of transience.The sculptures, which were also on display at the Castello di Rivoli, are based on the idea of transience. The body, the body of art, the body of art, is not the subject of the sculpture. The work is an act of transience.

Result #2

acrylic on canvas fluid pour technique gentle, muted colors, cream, yellow, green Dalene Alsager created soft feeling contentment peace gardenit-type in her recent show. Her work is loaded with references to early modern art—for example, the techniques of Frank Stella, the use of color to frame architectural space, the use of stencils and stencils to create curves and edges. In this show, Alsager uses stencils and stencils in her paintings. Her work is all about the painting process—and the process of painting. The stencils are the means to an end, and she uses the stencils to create a process. The stencils are a more superficial tool, but they are not the end point. The stencils are not the beginning point either. The stencils are the end point, and the end point is a stencil. But the stencils are not the end point either. The stencils are the starting point and the end point is the stencil. The stencils are not the end point either. The stencils are the end point and the end point is the stencil. The stencils are not the end point either. The stencils are the start point and the end point is the stencil. The stencils are not the end point either. The stencils are the end point and the end point is the stencil. The stencils are not the end point either. The stencils are the start point and the end point is the stencil. The stencils are not the end point either. The stencils are the end point and the end point is the stencil. The stencils are not the end point either. The stencils are the start point and the end point is the stencil. The stencils are not the end point either. The stencils are the end point and the end point is the stencil. The stencils are not the end point either.

Result #3

acrylic on canvas fluid pour technique gentle, muted colors, cream, yellow, green Dalene Alsager created soft feeling contentment peace gardenizants. The first work one saw on entering the gallery was Untitled (Inland Empire), 1996, a large diptych in which the artist had painted an image of a lonely mountain and a picture of a white-robed woman, with a split-length of rope dangling from the bottom of the left panel. The rope was visible through the open top of the topmost panel, which was supported by a triangular panel of plaster, the same one that was also on view in the gallery, but in a different place. The image of the mountain and the white-robed woman were rendered in a kind of paint-by-number, a style that was familiar to those who followed art at the time. A couple of years ago, Alsager showed a series of paintings that use the same image, but this time the image was actually a painting—an abstract painting that could be found in any of the famous gallery windows. The artist had used the same technique to create a number of her own works, but she was using a different technique to make this one. In the paintings, the image of the mountain and the white-robed woman were rendered in a kind of paint-by-number style that was also used in the paintings of Helmut Newton, and in the works of Richard Diebenkorn, Paul McCarthy, and Richard Tuttle. Alsagers technique of using paint-by-number to make abstract paintings, which has been used in a variety of ways, from painting to painting, is the same one as Newtons, and it is also a sort of minimalism.In the second room, in the same space as the mountain and the white-robed woman, Alsager had also used the same technique to make a series of paintings that were rendered in a kind of abstract painting style.

Result #4

acrylic on canvas fluid pour technique gentle, muted colors, cream, yellow, green Dalene Alsager created soft feeling contentment peace gardenewhatever, this is a one-woman show. The artists were all women, and the work was mostly from the past three years. A few of the artists were still in college, and a number of them had moved to New York in the past year. The most recent works, however, were the most recent ones. The most recent works are paintings that Alsager has been working on for a year or two. They are more traditional in their approach, with a little roughness, and a few small paintings. She is also working on a series of large drawings which will be made into a series of large paintings. Alsager has also been developing a series of large, brightly colored sculptures, which will be exhibited in the spring. The sculptures have a very painterly quality, and the result is very physical, and in a way that is very moving.The show was divided into three parts. The first part was a series of three large paintings, all of which are large, with a space between each. The paintings are very thick and have a lot of space between them. They are also very dark, and so the space between the paintings is also very large. The paintings are all fairly small, and all have the same number of panels. The canvas size of each painting is also very small, and the panels are very large. The paintings are painted in acrylic on canvas, and the paint is applied in layers, and then scraped off the excess, leaving behind an extremely fine, glossy, and shiny surface.The second part of the show consisted of a selection of works in which Alsager has been working on large-scale, multi-colored, and complex-scale drawings. These drawings are almost all of the same size as the paintings. The drawings are done in acrylic on a white ground, and the result is very painterly and very smooth. The drawings are very delicate, and they are worked with a brush and a palette knife.

Result #5

acrylic on canvas fluid pour technique gentle, muted colors, cream, yellow, green Dalene Alsager created soft feeling contentment peace gardenizemanufacturings are the name of the artists first solo exhibition. Alsager has previously made works on paper that are also wall hangings and paintings. The series, as in her previous ones, consists of works that are hung on the wall and in which she has mixed and matched the surfaces of the hangings with her own personal motifs. The result is works that are intensely personal and in many cases seem almost sacred. The works are usually two to four inches square and, at about thirty inches long and up to five feet high, have been hung on the wall with a number of variously sized and shaped nails. In some cases, she has filled in the gaps with glue. This simple, but effective, method of wall hangings has been a favorite of Alsager for years. In these recent works, however, she has turned to a much larger scale, and the results are remarkably beautiful.Alsager has been using the same materials, the same techniques, and the same techniques in each series. However, she has not used any of the vernacular materials that are the vernacular in the first place. The materials are what we know, the techniques are what we know, and the techniques are what we know. However, this is no longer just a formal issue. The materials are a more personal, emotive, and expressive representation of the artist herself. The works are personal, emotive, and expressive. They are not simply an extension of the artists work, but an integral part of it. As the artist states in her statement, the materials of my work are a part of my psyche. The work has always been about me, and about myself, and about the world. The process is an exploration of what it is to be in the process of being in the process of being. The works are both on display and constructed.