Karen Seapker Cradle

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‘And Most Slow Have I Been’ is a current exhibition at Lipscomb University by Karen Seapker. The gallery features a concise body of work; approximately ten to fifteen pieces in size. Many of her paintings depict bold, vibrant colors contrasted against dark muted ones. A recurring technique that Seapker utilizes is creating lines that appear to be executed in one brush stroke. These compositions are often subtly defined by these dynamic brush strokes. Seapker then creates void like spaces by filling the remaining negative space with contrasting colors; in comparison to the brush-stroke in the foreground. Another technique used alongside the strong brush strokes is a simulated gradient effect by applying two or more colors to her canvas and meticulously…show more content…
Then as I made my way around the gallery I noticed a myriad of her works contained radically simplified or abstracted figures. Segments of a hand or a pair of legs are incorporated into the composition delicately like puzzle pieces. Seapker’s painting named ‘Cradle’ demonstrates these figurative elements. A massive hand-like form dominates the center of the composition. The calligraphic brushstrokes in this form create a powerful sense of movement. Therefore, I found this painting quite intriguing. In the bottom left portion of ‘Cradle’ there appears to be two beige colored legs. To the right of them, a contrasting turquoise, gray pair of legs support the beige pair in a similar manner that a chair would hold one’s body. Most notably, the turquoise legs disintegrate into a pastel pink field; on the far right. Bits of gray paint are splattered in an upward motion on top of the pastel pink area; they are barely noticeable but enhance the impression of movement nonetheless. The ambiguity of the figures allows the viewer to gather a more subjective perspective on the content. Seapker’s visual language suggests something unsettling within the paintings, but I could not draw any

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