Pat Cresson's most recent paintings (2016) that have been further initiated by a semester long sabbatical, are abstract oil impressions on wood panels of places, feelings, thoughts and visual impressions. Pat Cresson’s new paintings are poetic and are influenced by nature, her travels, her teaching and her accumulative life experiences. The unique color, textures, and organic and geometric forms become a layered composition of detailed yet simple and direct expression. The work describes both the oneness and complexity of life. This newest body of work reflects the underlying geometric foundation of nature, patterning, movement, and abstract icons influenced at times by her design work incorporating symbols and typography. The recent monoprints reflect a somewhat more literal expression of her ideas about nature and the surrounding world. “It is more important for me to capture the feeling or essence of the experience rather than the factual information. I want other people to have the opportunity for an open interpretation of the work without strong pre-described intentions.” 
 
Many of the artist’s pieces over the years have combined painting, drawing, type, design, and digital imagery with printmaking. In her prints the intention is to create semi-fictitious narrative images that jog the subconscious memory of the viewer whether they are abstract or include figurative elements. Those elements are never highly literal but are suggestive of subconscious and cultural influences. Perhaps the images refer to a place that you have been to, read about or have heard of. Recently the artist has concentrated her inquiry into the connection between geometry and Nature or landscape. Under the foundation of all that is natural and organic lies a geometric grid. She has explored this by juxtaposing hard edge geometric design form and pattern against organic, more literal shapes.
 
This unlikely combination creates a unique image on many levels. It contrasts flat and deep space, curvilinear and organic line, solid and transparent mass, minute detail versus magnification, and literal against poetic reality. The viewer is drawn into this world almost as a scientist studies plant species. She has always been interested in the “collage aesthetic” or the process of arranging or pasting different materials in one composition of varying materials, textures and colors. Much of her work is based on compositing images in this way.
 
 
 
 
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