Nedávno se v "denní dávce umění" na iGoogle objevil obrázek současné americké malířky
Amy Bennettové: Amy Bennett designs and constructs a 1:87 scale model neighborhood using model
railroad miniatures, landscaping supplies, and dollhouse lighting to use as a still life for her paintings. “By considering the layout of the street and the relationship of one house to another, I am prompted me to imagine the character of individual families, and the ways in which they may interact and connect. My imagination fills each house with history, memories of significant events or moments, traditions, and daily rituals. The act of building models plays a critical role in triggering my imagination to develop images. The model becomes a stage on which to develop the psychological implications of belonging to a particular family, with all of its dramas, struggles and familiar routines. I think: this tree will be taken down after an old man crashes into it; a father will transform this lawn into an ice skating rink; this house will be abandoned after its residents are scandalized on the evening news. In the same way that we develop our concept of home, I have created these images, through memory, personal experience and imagination. One of my challenges is to invite the viewer to form his or her own connection and narrative, whereby he may empathize with the occupants’ seemingly mundane existence.”
As artist Peter Drake states, “Entering one of Amy Bennett’s paintings is like walking into a home where you know that something has gone subtly wrong.” Indeed, initially one delights in the isolated luminous
landscapes, the thorough attention given to each room’s décor, the interesting combinations of varying, yet consistent, perspectives. And, because these are paintings presented for you to look at, you feel comfortable taking all the time in the world absorbing every aspect (as opposed to feeling impolite investigating someone’s actual home). It is upon such close inspection that you notice, as Drake states, “Anxiety is in the details.” A young girl stands forlorn in a front doorway, while upstairs a man rifles through dresser drawers. The dirty pots and plates from the last eaten meal are strewn about the kitchen, with no one in sight to tidy up. A woman sits staring out the window as if hypnotized, while two figures watch the television behind her. Bennett’s domestic paintings depict more setting than actual action, emphasizing the figures’ existence in space and, consequently, the significant void existing between them. You are invited to enter these “generous” paintings, to, as Drake writes, “take the good with the bad… to remember your own past and to look more closely at the present. You are asked to find yourself in the memories and imaginings of a truly gifted artist.”
Nedávno se v "denní dávce umění" na iGoogle objevil obrázek současné americké malířky Amy Bennettové: Amy Bennett designs and constructs a 1:87 scale model neighborhood using model 
railroad miniatures, landscaping supplies, and dollhouse lighting to use as a still life for her paintings. “By considering the layout of the street and the relationship of one house to another, I am prompted me to imagine the character of individual families, and the ways in which they may interact and connect. My imagination fills each house with history, memories of significant events or moments, traditions, and daily rituals. The act of building models plays a critical role in triggering my imagination to develop images. The model becomes a stage on which to develop the psychological implications of belonging to a particular family, with all of its dramas, struggles and familiar routines. I think: this tree will be taken down after an old man crashes into it; a father will transform this lawn into an ice skating rink; this house will be abandoned after its residents are scandalized on the evening news. In the same way that we develop our concept of home, I have created these images, through memory, personal experience and imagination. One of my challenges is to invite the viewer to form his or her own connection and narrative, whereby he may empathize with the occupants’ seemingly mundane existence.”
As artist Peter Drake states, “Entering one of Amy Bennett’s paintings is like walking into a home where you know that something has gone subtly wrong.” Indeed, initially one delights in the isolated luminous 
landscapes, the thorough attention given to each room’s décor, the interesting combinations of varying, yet consistent, perspectives. And, because these are paintings presented for you to look at, you feel comfortable taking all the time in the world absorbing every aspect (as opposed to feeling impolite investigating someone’s actual home). It is upon such close inspection that you notice, as Drake states, “Anxiety is in the details.” A young girl stands forlorn in a front doorway, while upstairs a man rifles through dresser drawers. The dirty pots and plates from the last eaten meal are strewn about the kitchen, with no one in sight to tidy up. A woman sits staring out the window as if hypnotized, while two figures watch the television behind her. Bennett’s domestic paintings depict more setting than actual action, emphasizing the figures’ existence in space and, consequently, the significant void existing between them. You are invited to enter these “generous” paintings, to, as Drake writes, “take the good with the bad… to remember your own past and to look more closely at the present. You are asked to find yourself in the memories and imaginings of a truly gifted artist.”
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