Author: Francine Scialom Greenblatt

Casper David. 2020. A/C.140x100cm

Francine Scialom Greenblatt.
Casper David. 2020. A/C.140x100cm

This is a homage to the German Romantic landscape painter Caspar David Friedrich (born: 05/09/1774 Greifswald, died: 07/05/1840 Dresden).

In my work, an imaginary world expressed by the silhouette of mountain in moonlight, suggests a spiritual dimension. 

On the Fourth Day. 2020. A/C. 100x80cm.

Francine Scialom Greenblatt.
On the Fourth Day. 2020. Acrylic on Canvas. 100x80cm

In biblical terms, it is written that the Sun, Moon and Stars were created on this day.  Together with its companion, ‘Day Four’, this work makes use of abstract marks and gestures to suggest a cosmology where the history and the fate of the universe come together. Simplistically, it is a site where the Big Bang theory and Judeo/Christian beliefs co exist in a visually explosive cacophony. This work attempts to bring together modern observational astronomy and particle physics, with mythological, religious and esoteric ideas.

 

 

Day Four. 2020. A/C. 100x80cm

Day Four. 2020. A/C. 100x80cm
“Let there be lights in the sky to divide the day from the night; and let them be for signs and seasons and for days and years.”

Swirling drips and marks sweeping across the work allude to the fourth day of Creation. Irrespective of ones spiritual beliefs, one can but wonder at the magnificence of Nature. However we consider Creation, no words can approximate the force and power that made it happen. It is truly awesome. 

Maida Vale. 2020. A/C. 140x80cm

Francine Scialom Greenblatt.
Maida Vale. 2020. A/C. 140x80cm

I have always been fascinated by the almost pre historic allure of trees post pruning. Branches contort and assume sculptural gravitas that speak of wisdom and history as they prepare for winter. I never tire of the way glorious ganglionic tips conclude and contain tree stems like an old Shaman’s gnarled hands.

Heroically, a single tree, flanked by the rectilinear series of houses is important at centre stage. Small distant trees do not devalue that central motif.  In this urban space, one tree holds more symbolic potential than a thicket. Brooding skies amplify that drama with sound and colour.

During lockdown, I have imagined many narratives this summer, and it’s been wonderful celebrating this old friend’s return to youthful vigour. Until Autumn.

 

 

Hitchcock Tree. 2020. A/C. 30x24cm

Francine Scialom Greenblatt.
Hitchcock Tree. 2020. Acrylic on Canvas. 30x24cm.

The last of the Hitchcock series, this painting focuses on the tree which has been in the background of the companion works. Being relatively small formats, my hope is that the viewer will come close to the image, creating an intimate capsule where surface colour and brushwork are enjoyed as they blur into abstraction.  Lone trees take on greater importance for me when isolated, allowing narratives to come to life.

Hitchcock Waiting. 2020. A/C. 24x30cm

Francine Scialom Greenblatt.
Hitchcock Waiting. 2020. A/C. 24x30cm

Abstracted car forms in the foreground are still in a windy landscape. One imagines a driver sitting inside with a sense of anticipation, echoed by the viewers anxiety waiting for danger.

Hitchcock Storm. 2020. A/C. 24x30cm

Francine Scialom Greenblatt.
Hitchcock Storm. 2020. A/C. 24x30cm

Two cars seen through a car window on a stormy night set the tone for danger. Acid yellow rectangle of car bonnet is electrifying and the contrast to the remaining elements in reduced palette sets a sense of theatre. 

Hitchcock Thriller. 2020. A/C. 24x30cmcm

Francine Scialom Greenblatt.
Hitchcock Thriller. 2020. A/C. 30x24cm

A sense of drama is heightened by quick, loose brushstrokes and a reduced palette in this small work. Very simply, three elements are arranged in the landscape, becoming the site of potential danger. Irrationally, as with Hitchcock’s films, irrespective of where/what the source of danger is, tension is maintained.