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Resa Blatman, Heed, 2012. Oil, glitter, beads, graphite, and glue on DiBond aluminum panel, 60” x 50”. © Resa Blatman


Resa Blatman

–Boston, MA–


About the Artist:

Resa Blatman received her MFA in painting from Boston University in 2006, and her BFA in graphic design from the Massachusetts College of Art and Design in 1995. Resa has been teaching advanced level graphic design at MassArt since 1997. She is the recipient of several grants, including a full-fellowship at the Vermont Studio Center, Artist’s Resource Trust/Berkshire Taconic Community Foundation Grant, the Blanche E. Colman Award, and was initial nominee for the 2010 James and Audrey Foster Prize at the ICA, Boston.  In October 2011, Resa’s solo show, “Ultimate Whorl,” received high praise in the review “Expansion, Contraction, and the Space in Between,” from The Boston Globe and the Sept/Oct 2011 issue of Art New England.  Resa’s work has been featured in several magazines and journals; most recently in the book 100 Boston Painters by Schiffer Publishing; Abstraks’ March 2012 issue; The U.K.’s Aesthetica Creative Works Annual, 2012; On the Issues Magazine, winter 2012; and The Soul Body Connection, winter 2012. Resa is represented in Boston by the Ellen Miller Gallery, and she’ll be exhibiting her work in a two-person show, “Landscape Remade,” in October 2012 at Northeastern University’s Gallery 360.


About the Work:

“Over the last several years, my paintings have dealt with lush representations of nature, fertility, and sensuality. While a cornucopian nature continues to be the overriding theme in my work, I’m also interested in current environmental issues and how they affect our landscape and our natural resources.  Beauty in animals, art, and nature fascinates me and I exploit it in my work. While at the same time, I recognize that the underbelly of these things is often frightening and grotesque, and I like this as well.  I find this contradiction deeply complex and intriguing, especially in its relationship to human behavior and how we perceive and treat nature. I strive to incorporate this paradox into my work with the myriad elements that I apply to the painting’s surface, such as glass and plastic beads, glitter, Austrian crystals, and thick layers of glue, as well as the painted subject matter.

Since 2008, I’ve been making the “cut-edge” paintings, but my recent surfaces have migrated back to a straight-edge format, where I’m drawing and painting the flamboyant elements of the laser-cut edges into the rectangle.

Some of my stylistic references are to art history, including the Renaissance, Baroque, Victorian decorative art, Romanticism, and antique botanical imagery; these influential art movements, combined with my own concepts, elicit painting compositions that are seductive visual feasts of fruit, flora, wildlife, and beauty laced with brooding undertones.”

The cut-edge paintings are made on ¼-inch PVC or Plexiglass. I design the patterns on the computer and then have the panels professionally laser-cut. Once back in my studio, I begin the painting process. The cut edges expand the subject matter and pattern of the painting, with insects flittering along the wall and cast shadows for a three-dimensional effect. 


Resa Blatman, Woven, 2010. Oil, glitter and beads on cut-edge panel, 32” x 59”. © Resa Blatman.


Resa Blatman, The Fall, 2012. Oil, glitter, beads, graphite, and glue on DiBond aluminum panel, 72” x 156”, triptych. © Resa Blatman.


Resa Blatman, The Golden Mean, 2011. Oil, glitter, beads, graphite, and acrylic on cut-edge panel, ca. 96” x 190” inches, triptych/installation. © Resa Blatman.


Resa Blatman, gallery view of The Golden Mean, 2011. Oil, glitter, beads, graphite, and acrylic on cut-edge panel, ca. 96” x 190” inches, triptych/installation. © Resa Blatman.




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