Be Seduced by Monroe Hodder's chromatic sensations, but don't be fooled by them. Her career spans a number of chapters in the history of American art. Inspired by a vast web of experiences, her work is charged with the urban intensity and
stimulation of life in London, together with the peace and solitude of a studio in Colorado.
Rothko said that a picture "lives by companionship, expanding and quickening in the eyes of the sensitive observer".
Monroe's paintings have a power to engage with us. Her work encapsulates a reconciliation of opposites: a balance betwenn the spiritual and the sensual, the structural and the painterly, discipline and passion. Her most powerful language is
colour. Tangerine, puce and crimson jostle together; turquoise, ultramarine and yellow form striking layers. Drips of colour disturb the geometry. It has been said that difficult colours work together to form stimulating and surprising
harmonies. Monroe states, "My impulse is to fill up an abstract repetitive structure with the delicious disorder of paint. My work is a child of minimalism but the rules are bent and the grid has gone awry. I paint in large, messy stripes that
wobble around and go out of bounds. My interest is in the ways I can use colour inside and across bands. I like to confound myself with infinite possibilities, choosing a feeling such as blue and running other hues over, under and right through
it."
After studying at Vassar, Monroe Hodder worked at the San Francisco Art Institute and the Arts Students' League in New York. She taught painting at various schoolls in San Francisco. Her experience of working as
assistant to the Mexican artist, Manuel Neri, at the San Francisco Art Institute brought her into contact wth Clifford Still and Mark Rothko. Through her involvement with Neri came an affiliation with the Bay Area Figurative School in California,
including such artists as Richard Diebenkorn and Elma Bischoff. Monroe and her husband Fred lived in San Francisco for 20 years, have travelled a great deal and now spend much of their time in England.
Monroe seldom paints
without listening to music. Her passions range from Bach to the Blues and cites Karl Jenkins and Jobi Talbot as inspirations. There are harmonic elements to her work which witness to her musical sensitivity.
These
beautiful, abstract works arise directly from personal experience. The layers of paint release the geometry from the prosaic and the intellectual into an explosion of colour. Look carefully at these glorious, seductive, luminous paintings.
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