In one piece, she frames four squares of pale yellow bisected by a vertical white line with a frame of four faint shades of gray. Yet, even though her colors are pale, a powerful l Bezold effect emerges In another work are five horizontal lines of blue. Beneath each blue line is a thin, bright white stripe and a large field of a faint tint of blue. But, in this piece, there are dramatic textural effects both in the blue horizontal lines and in the area of pale blue. Some even fainter pale white vertical lines intersect these blue horizontals.

Result #1

This effect is more than a pale, traditional handling of blue, but it is more than it sounds like; Bezolds bold colors are so strong, the lines are so clean, they are almost ghostly.The artist uses repeated, vertical compositions of blue, gray, and black to emphasize her means. Her panels of solid color often contrast sharply with the individual pictorial elements of the composition. The drawings and three-part objects in one series are shown on thin vertical sections, sometimes just a few inches apart. The most compelling drawings are in the pastel, earth-colored drawings. Her characteristic coziness of color and application is at its most vivid in these works, especially in the pastel works. The pencil and charcoal drawings are not as vibrant as the colored drawings, but they are more interesting in their spectral inclusions, like a spectral tour of a distant desert or an admiring view of a distant mountain range. Bezolds skillful handling of the shading and contouring of her acrylics and pastels is a powerful attraction in itself. The colors are defined in deeply, carefully composed, evenly distributed planes, which are then raked, stained, and then pasted back onto the surface. This is a method Bezold has employed before in the past. But, here, the techniques are used in a more refined way. The coloring of the colored drawings is vibrant but not gleaming. The silvery pastels have a more random, mannered quality. They are merely slightly luminous, and they are painted with a precision that is revealing, even suggestive. It is almost like the artist is putting on a show. Because of this, the drawings are also more personal and less abstract than her acrylics. And, as in most of her pastels, her choice of rich tones and muted colors is almost incidental.

Result #2

These vertical and horizontal traces echo the baying lines of the diagonal stripes. The black and pale blue surfaces seem to float at the bottom edges of the works, which are hung on the wall in a ruchly, slick, and stylish manner. Beyond, the objects are so solidly heavy that they become almost insubstantial.Sawmonts intentions are quite clear. She wants to draw attention to the materials and properties of her own work, and to make a statement about the essential nature of each. However, her pictures tend to blend together. Sawmont emphasizes the surface and lets her materials dissolve in a gradual and semi-overlapping form. The result is a kind of elusive, semi-aesthetic painting.

Result #3

In one piece, she frames four squares of pale yellow bisected by a vertical white line with a frame of four faint shades of gray. Yet, even though her colors are pale, a powerful l Bezold effect emerges In another work are five horizontal lines of blue. Beneath each blue line is a thin, bright white stripe and a large field of a faint tint of blue. But, in this piece, there are dramatic textural effects both in the blue horizontal lines and in the area of pale blue. Some even fainter pale white vertical lines intersect these blue horizontals. This picture is not as clear as it is rich. The blue vertical lines are clearly oriented in a direction of gravity to the grid, whereas the blue horizontal lines appear at a height where gravity is still active. The blue horizontal lines, however, seem to be floating free of gravity, so that the height is an important sign of gravity. The vertical horizontal lines are not parallel to the horizontal, but just below it. The vertical horizontal lines in this picture are light enough to float without being dense. Like the horizontal lines in this picture, they are asymmetrical and appear to have no distance between them. The vertical horizontal lines, as in the blue horizontal lines, are inclined at the same time as the horizontal lines, so that the horizontal lines seem to be bound to gravity by gravity. On the other hand, the vertical horizontal lines are not linear. The vertical horizontal lines are not symmetrical.

Result #4

In one piece, she frames four squares of pale yellow bisected by a vertical white line with a frame of four faint shades of gray. Yet, even though her colors are pale, a powerful l Bezold effect emerges In another work are five horizontal lines of blue. Beneath each blue line is a thin, bright white stripe and a large field of a faint tint of blue. But, in this piece, there are dramatic textural effects both in the blue horizontal lines and in the area of pale blue. Some even fainter pale white vertical lines intersect these blue horizontals. In other pieces, textural elements are emphasized: heavy black marks on the floor, strips of color, or fabric arranged in an orderly pattern.These elements might suggest a more overtly gestural, or painterly, approach to paint-making, for example. But this is not the case. A thorough understanding of their functions and their significance is not required. Like Goya, Bezold used his paints to paint in the past, but his use of light as a color determiner is very recent. In many works, Bezold sets horizontal layers of paint into linear patterns, creating patterns that become visual, tangible, and complex. A typical sequence of horizontal strips of white paint tends to break the linear, visual-image-filled patterns in the vertical painting. The formal rules of painting, however, are never explicitly called out; they simply follow.In this way, Bezold is a painter who can use color to resolve pictorial problems. But he does not neglect the reality of the picture plane, or the viewer, or the tendency to interpret signs. Just as the strip of paint has to resolve the two spatial planes at the very least, so the viewer has to resolve the three planes in a picture plane, or to relate two pictures of the same plane in space. This complexity is evidenced in the most abstract works, which range from complete abstraction to clearly graphic. But the pictorial surface is never abstracted, although Bezolds visual language is not expressed in terms of color. It is a painted surface that continues to be viewed and that allows the viewer to see the situation of the painting. In this respect, Bezold is similar to Matisse: The two paint-saturated colors used to create a painting surface are both seen and seen again in the context of another painting. With them, the surface of the picture plane is seen as a kind of drawing that does not end in itself.

Result #5

In one piece, she frames four squares of pale yellow bisected by a vertical white line with a frame of four faint shades of gray. Yet, even though her colors are pale, a powerful l Bezold effect emerges In another work are five horizontal lines of blue. Beneath each blue line is a thin, bright white stripe and a large field of a faint tint of blue. But, in this piece, there are dramatic textural effects both in the blue horizontal lines and in the area of pale blue. Some even fainter pale white vertical lines intersect these blue horizontals. This is an effect very reminiscent of the fruit or the black in the cake. In the paintings, Bezolds lines are less often accompanied by stripes and borders, such as in her vertical work. In each work, the outline is obliterated by the paint and a small square of the same color is applied.The title of this show, Markin zur Kunst/Kurzberg (Mark of the Work), might be a reference to the artists body of work. In it, Bezold symbolizes the artist as an artist in search of the world, and also a product of his own sensibility. The title also can be seen as a direct allusion to the work of art—the works themselves—in general, and especially to Bezolds work, in particular. A sense of beauty is implied by these juxtapositions: the blue line in the right corner of the painting is lined with dark gray stripes; the blue line on the left is a muted gray. The lines are almost like veins or veins of light. The irregular shape of the canvas, the lack of any clear edge, the flatness of the borders, all this contributes to the impression of a nebulous and fleeting space. It is this space that Bezold represents, and it is this space that Bezold loves, but he also cherishes.In addition to these works, Bezold presented several books on paper. These books are in a manner similar to Bezold sketches. This is a tradition in photography. But in photography, one cannot simply sketch the final image—one cannot merely print a sketch. Not only is this a limit, but it can also be dangerous. Many photographers, including Bezold, have tried to escape this danger by making the final image. Bezold has tried to get away from this danger, yet she cannot escape it. By making these drawings, she is trying to get away from her own body of work.