Marcia Rackstraw
When I discover a subject matter that interests me I tend to
investigate it with a series of images, often staying with it for as
long as a couple of years.
I am interested in making images that draw the viewer into an
unknown space, one that can promote a quiet contemplation,
perhaps a mystery to be solved or a challenge to know what
is being shared. I like the play between what is realistic and what
is fanciful — the riotous colors given a black and white animal or
the curious shapes of imaginary plantlife.
Over the years my work has been inspired by annual visits to the
island of Kauai, a landscape dramatically different from the high
desert of Placitas. There I have made many trips to Limahuli
Garden and Preserve, a botanical park dedicated to preserving
species native to Hawaii, to study the brilliantly lush vegetation.
From this I created small landscapes of the more intimate
spaces, a closeup of the plants and water, the patterns of
shadows and light reflections.
That
interest
in
patterns
next
lead
me
to
a
study
of
zebras,
the
intricate
stripes
of
each
animal
—
their
“fingerprint”
—
and
how
that
translates
into
an
almost
abstract
image,
though
one
that
still depicts the spirit of this magnificent animal.
When drawing in charcoal I work quickly to maintain the
freshness and spontaneity of that medium usually completing an
image in a couple of hours. Working in black and white is
powerful and direct. I like to let the image grow, building on
“missteps” as well as intentions, letting the animal emerge from
and disappear into the formal design.
With oil painting, the addition of color expands the notion of the
image moving between literal and abstract. I like when the
subject is fluid, seeming to at once depict the animal, engaging
the viewer through the alway present eye, and then slipping
away into an abstraction of colors and shapes.
In 2019 on a month-long visit to South Africa, I experienced a life
changing event. On the second day of my stay as i sat on the
porch of our home located in a game preserve, I heard a rustling
of leaves. As I stepped off the porch, four adult zebras and two
foals calmly walked toward me. They stopped, made eye contact
for just a moment, and then walked around me and back into the
brush.
For the first time, I experienced these wild animals in their
protected environment where there is little fear of humans. I was
amazed by that moment of connection; to make eye contact and
see curiosity, acceptance and then disregard as they moved on.
Looking into their eyes there was the sense of a mystery to be
solved, a challenge to know what is being shared. The animal’s
eye has become a very important element in my work — they are
watching us, waiting to be acknowledged.
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All work is ©Marcia Rackstraw and may not be copied
or reproduced in any manner without the express
written permission of the artist.
Website ©2020 PlacitasArtists.com All rights reserved
Marcia Rackstraw
When I discover a subject matter that
interests me I tend to investigate it with a
series of images, often staying with it for as
long as a couple of years.
I am interested in making images that draw
the viewer into an unknown space, one that
can promote a quiet contemplation, perhaps
a mystery to be solved or a challenge to
know what is being shared. I like the play
between what is realistic and what is fanciful
— the riotous colors given a black and white
animal or the curious shapes of imaginary
plantlife.
Over the years my work has been inspired by
annual visits to the island of Kauai, a
landscape dramatically different from the
high desert of Placitas. There I have made
many trips to Limahuli Garden and Preserve,
a botanical park dedicated to preserving
species native to Hawaii, to study the
brilliantly lush vegetation. From this I created
small landscapes of the more intimate
spaces, a closeup of the plants and water, the
patterns of shadows and light reflections.
That
interest
in
patterns
next
lead
me
to
a
study
of
zebras,
the
intricate
stripes
of
each
animal
—
their
“fingerprint”
—
and
how
that
translates
into
an
almost
abstract
image,
though
one
that
still
depicts
the
spirit
of
this magnificent animal.
When drawing in charcoal I work quickly to
maintain the freshness and spontaneity of
that medium usually completing an image in
a couple of hours. Working in black and white
is powerful and direct. I like to let the image
grow, building on “missteps” as well as
intentions, letting the animal emerge from
and disappear into the formal design.
With oil painting, the addition of color
expands the notion of the image moving
between literal and abstract. I like when the
subject is fluid, seeming to at once depict the
animal, engaging the viewer through the
alway present eye, and then slipping away
into an abstraction of colors and shapes.
In 2019 on a month-long visit to South Africa, I
experienced a life changing event. On the
second day of my stay as i sat on the porch of
our home located in a game preserve, I heard
a rustling of leaves. As I stepped off the
porch, four adult zebras and two foals calmly
walked toward me. They stopped, made eye
contact for just a moment, and then walked
around me and back into the brush.
For the first time, I experienced these wild
animals in their protected environment where
there is little fear of humans. I was amazed by
that moment of connection; to make eye
contact and see curiosity, acceptance and
then disregard as they moved on. Looking
into their eyes there was the sense of a
mystery to be solved, a challenge to know
what is being shared. The animal’s eye
has become a very important element in my
work — they are watching us, waiting to be
acknowledged.
BACK TO TOP
Marcia Rackstraw - Painter
