A new Action Continues

A New Action in Studio Weil

Click on the images below to enlarge.
92 cm x 73 cm  Acrylic paint on cloth.

Series below: 70 cm x 50 cm Acrylic paint on paper.
Click to enlarge.

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A New Action

After almost 6 decades of my work;
Being encompassed by my art seems to include all my studies;
explorations, philosophies, exhibitions, promotions and the daily reflections and experiences that create a painting or sculpture.

Many of my visitors have commented about the visit to Studio Weil being memorable as it is the story of my life.

This new work seems to be all that I have envisioned.

My favorite Lascaux acrylic paint is provocative.  The normal paint rollers are my old friends and they have been good to me in bringing about a new rhythm.

After lecturing in Studio Weil for twelve years,and explaining the process of my paintings, I have returned to putting all this into “A New Action”.

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Drawings from Movies


Drawings from Movies 2009 – 2015, Mixed media on paper.
The Red Shoes (1948), starring ballerina Moira Sheare. Once you put on the red shoes, you can not take them off.
Au Hasard Balthazar (1966) Director Robert Bresson. A donkey who becomes a Christ like symbol.
The Biography of Camille Claudel(1988), 2 drawings (2015). Camille Claudel, the sculptor, Rodin, was her lover.
Water for Elephants (2011) Staring Robert Pattinson, Reese Witherspoon, 2 drawingss. Love in a Circus atmosphere.
Goya’s Ghosts (2006), Director Milos Forman. Incidents in the time of Goya.
Melancholia (2011) Director Lars von Trier. The masque of marriage.

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Torn Apart

In “Torn Apart” I have responded to the conflicts which come to us daily through the media and tear us apart: In Israel, the Gaza conflict, or that of Russia and Ukraine. Living on an island I am moved to record the fate of the Migrant Boat People. And an homage to the French killed in recent terror attacks on their streets and in their theaters, all expresses itself in images of people fleeing, disembodiment…and then in strong colors, color in response to the darkness…


Remembering the Paris attacks, Carton and wood frame, 28 x 19 cm collage colored paper acrylic pens.
Torn apart 1, Indian Ashram Paper 66 x 88 cm chalk, acrylic paint pens, carbon.
Torn apart 2, Paper frame, 56 x 72.5 cm, drawing 49 x 50.3 cm, pastel, acrylic pens.
Torn Apart 3, 34x 29 cm, Paper and wood frame, drawing inside 26.5 x 17 cm, acrylic pens, carbon.
Torn Apart 4, Carton and wood frame 40.6 x 30 cm, drawing inside 26 x 20 cm, acrylic pens, pastel.

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Super Woman

Project construction 2012. Cut from the painting “Goddess of Love” 200 x 250 cm, 1991, acrylic paint on cloth, wood backing on sculpture, resin, painted fiberglass frame.

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Seven Sculptures Video


Date and origin of the works 1991-2014

These three paintings from the “Forest of Love “ series arose from a feminist impulse: Dame Hubbard, based on the nursery rhyme of Old Mother Hubbard, about women and poverty, women serving others. “Bow-Wow” is a take on the inner, female sex organ and the outer, male one, both capable of reversing position, The Female is about what it says it is about.

The paintings in this series were always conceived as large, even heroic, works of commentary. As the paintings developed they became more abstract: the vivid colors and jagged, rhythmic shapes took on a life of their own, while also showing how abstraction uses memories of form. They became joyous without, for me , losing their overtones of feminism. Seeing them, the British artist Graham Ashton remarked that they looked like Sonia Delaunay on acid, and the dynamic patterning of early Twentieth Century Orphism does have a connection to my work.”the distribution of colors can be effected as well with complex forms” Sonia Delaunay

I set the series aside for a while. I wondered how the works could engage their viewers in a more active and relational way. Out of each work I drew quasi-figurative elements whose meaning had become almost a secret and I decided to let the signifiers loose in the third dimension.
The sculptures are constructed in iron, foam, pvc, polurethane paint and varnish.
The sculptures have stepped out of the frame to occupy the contested space between the eye and the painting, between figuration and abstraction, between the declarative and the ironic.
First of all the sculptures are my own conversation with the painting: even the most deeply meant work can carry an ironic or even comic tinge.What people are hiding in the bushes? Who or what is talking to us in abstraction?
Then, the sculptures, with their funny feet, also converse with the viewer and establish an active relation to the two dimensional work— literally active, because they stand in front of the paintings. Amongst other things they say, you want meaning? Here it is — a witty and touching cast of characters pulled from abstraction and talking to you. They can even walk back and forth as if they were connoisseurs of themselves.

“Dame Hubbard, “Bow-Wow” and “The Female” are the first three of the seven part “Forest of Love” series to be completed. I am currently working on drawing out a cast of characters from the other four.

Barbara Weil as related to the writer Helen McNeil

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