Barbara Krupp

The structure of each of her paintings is very important to her, and in her most recent series, she has, in a manner of speaking, allowed the bones of the painting—both compositionally and metaphorically, to become the painting's subject matter.

Barbara Krupp

Barbara trained to be an x-ray technician. From that time on, as T.S. Eliot wrote in his “Whispers of Immortality,” "I have seen “the skull beneath the skin.”

 

The structure of each of her paintings is very important to her, and in her most recent series, she has, in a manner of speaking, allowed the bones of the painting—both compositionally and metaphorically, to become the painting's subject matter.

 

Georgia O’Keeffe, whose early 1940s series of pelvic bones enclosed spaces that later in the decade became forms themselves, she found the areas of interest in her own landscape and floral abstractions to be the atmospheric spaces between forms.  She came to realize that the significance of her paintings was not in the forms, but in the spaces in between them.

In her “Abstract Stories” series, those atmospheric spaces became increasingly bounded by spontaneously drawn shapes. Painted in shades of ochre-tinted white –the color of bone-- the enclosed spaces began to take on shapes that suggested something as intimate and normally hidden as bone; organic shapes that suggest body parts unveiled here and there as though to tease a lover.

 

T.S. Eliot ends his poem with, ”Our lot crawls between dry bones to keep our metaphysics warm.

She explores the interface between passion and the intellect, pulsing tissue and desiccated bone.

Our lot may be to crawl through our mortal span but, like the poet, we also sing.