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Carol Ladewig

CollexArt Member Level II
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  1. Time Left: 10 months and 7 days

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    Acrylic/gouache on panels, 34.2 x 43.5 in In 2014, I decided to chronicle day and night on 4 x 6 Inch wood panels. The panels are organized into units of 4 weeks, two 4 week segments on a panel, with the last 4 week segment as a single panel. The color for night is painted directly on the wood panel, the color for day is then added.


    Oakland, California - US

  2. Time Left: 10 months and 7 days

    • FOR SALE
    • New

    Prismacolor pencil, Acrylic/gouache on wood panels (12- 12 x 6 inches mounted on a frame) 12 x 72 x 2 Inches. In 2015, I included the writing that is usually the invisible component in my practice as the daily color/notation and then assigned a color which was a blend of the days for the month. The division of night and day was based on the reported length of the day, which produced a subtle shift in the angle of relationship between day and night over the course of the year.


    Oakland, California - US

  3. Hi Eliza, The shift which I didn't see until I had put it altogether, surprise and delighted me, think it reflects the change of seasons and places, the colors in Fall going to Winter become deeper and darker. I worked both in Oakland and in the Berkshires.
  4. Carol Ladewig

    Year in Color

    The series “Year in Color” began in 2011 and renders the abstract concept time and its measurement into visual and literal form through the medium of color and shape The works are composed of small individual paintings. In these small paintings, each of which represents either an individual day or week, I translate a day's personal experiences and moods into a single color. This color is then combined with a neutral tone according to universal patterns such as the percentage of the moon that was in shadow on that date. Each year these installations have looked at different elements and ways of visualizing and tracking time. Days have been organized sequentially into weeks either horizontally or vertically while looking at the relationship of day to night, or sunrise and sunset, and waking and sleeping. In this body of work, I strive to create an eloquent balance between my personal perceptions and universally recognized structures that represent the passage of time.
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