“The canvases are composed of organic forms that derive from those found in nature, but ultimately the paintings are a visual record of an unplanned dialogue between myself and a blank canvas.”
Meredith Pardue is an abstract artist with an M.F.A. from Parsons School of Design in New York and a B.F.A. from the Savannah College of Art and Design. Her work has been exhibited and collected worldwide and published in Architectural Digest, Dwell, New American Paintings, and Austin Monthly Home. Her work is included in the corporate collections of J. Crew Corporate Headquarters, Genstar Capital, The Michael and Susan Dell Foundation, Oceania Cruise Lines, Scott and White Children's Hospital, and the Savannah College of Art and Design. She lives and works in Austin, TX.
“I combine the random actions of painting with controlled, deliberate mark-making to describe each form in my work, which often appears floral or plantlike in structure. The canvases are composed of organic forms that derive from those found in nature, but ultimately the paintings are a visual record of an unplanned dialogue between myself and a blank canvas. Together the marks and forms create a visual language that reads as something unique to each viewer. I position these forms against a pale ground that at first glance appears to be an expanse of negative space, but is actually a built-up surface that, upon closer inspection, reveals the history of the layers of paint, which are more elevated from the surface of the canvas than the forms themselves. It is neither the form nor the ground that I explore in my work, but the relationship between these two. Space is pushed and pulled through the tension of positive and negative spaces and through the dynamic of the compositions, which generally tend to rotate or undulate within the framework of the canvas.
I could say that I intimate a certain relationship between physical and psychological space in my work, because in a sense that is true. But my approach to making a painting is much more comfortable, intuitive, and personal than that. And so, the result of this visual investigation—the painting—reflects that process. I am most interested in extracting singular experiences from nature’s endless cycles, and in transforming the public world of nature into a place of private knowledge.”