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Dana Oldfather is a painter who has exhibited in galleries and museums including Library Street Collective, Detroit, Zg Gallery, Chicago, 5-50 Gallery, New York, Kathryn Markel Fine Art, New York, Red Arrow Gallery, Nashville, Abattoir Gallery, Cleveland, and moCa Cleveland. She was awarded the William and Dorothy Yeck Award for Young Painters, two Ohio Arts Council Individual Excellence Awards, a Satellite Fund Emergency Relief Grant from SPACES Gallery and The Warhol Foundation and was a 2019 finalist for the Hopper Prize. Oldfather has been published in New American Paintings, Maake Magazine, Beautiful/Decay, and ArtMaze Magazine among others. Her paintings are in many collections including The Putnam Collection for Case Western Reserve University, The Cleveland Clinic, The Progressive Art Collection, and The Columbus Museum of Art. Dana Oldfather finds inspiration in the trees, weeds and atmosphere near the little brick bungalow outside Cleveland, Ohio where she works, lives, and plants more tomatoes than she will water.  

 

bio

I’ve always felt a little off-balanced, unmoored and untethered, like the ground is falling or a breeze could pick me up. Life moves too fast. I am overwhelmed – jumpy. Perhaps we should give more weight to our actions, no matter how small? The whole of our lives is made up of innumerable events, one following another, obtusely influencing the next. Our past experiences and our ability to pay attention shape the way we see, making objective truths slippery. In a world of unknowns, change and impermanence are our only certainties. If I could come to terms with this, would my fear subside?

I communicate the dilemma of being through landscape. Trepidation colors the scene as I bring my insides to bear on the outside. Broodingly, the atmosphere is thick, and the landscape psychedelically tinted like dawn, an eclipse, or a summer storm. Shining suns and conifers unfurl becoming bulbous, fleshy, or petal-like. Back-lit deciduous trees and weeds crinkle scruffily and feathery in the waning light. Orbs float and cast colorful glows on surrounding leaf litter. Softening the painting's corners mirrors the undefined edge one discovers when examining the limits of the visual field. In these phantasmagoric landscapes reality is more than it seems, and the self is implicated in its magic. As though standing on rolling, oceanic ground, one’s attention follows the receding landscape out and away only to wash up again at the shores of one’s skin; hope; longing; loss. While building other worlds the sense of my impermanence in an expansive, mysterious universe stretches out into broader context and I am free.

statement

artist sitting in front of large painted canvas