Dwellings
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About this ebook
Like Sinatra, she did it her way, radically rethinking her popular expressionist style in the mid-Sixties and developing a decisive organicist iconography in oils that was all her own. Subsequently, when asthma became a problem, she embarked on a brilliant series of watercolours, returning to oils shortly before her death.
In Tepoztlán in 1981 she dripped undiluted watercolours onto a sheet of glass, pressed sheets of drawing paper down on it, and worked up the resulting colour patches into images. Back home she began revealing the poetry of houses embedded in nature in the various seasons, with the boundaries between inner and outer often porous. These are indeed Dwellings. The variety of techniques by which she made these thirty watercolours sing are illuminated in a long Afterword by artist Barbara Bickle.
Her work is represented in numerous public collections, including the Walker Art Center, the Smithsonian Institute, the National Gallery of Canada, and the Beaverbrook Art Gallery.
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Dwellings - Carol Hoorn Fraser
Bickle
Contents
Preface
Watercolours by Carol Hoorn Fraser
Cherry Sun
Summertime
Grosbeaks Return
White House
Evening Fever
Fading Light
Rain
Tower at Night
Summer Green
Colourful Neighbourhood
October Window I
Blue Window
Neighbourhood
Autumn Blue
Morning-Glories
Neighbourhood with Starlings
Forget-Me-Not
City Dusk
In the Gloamin’
Spring Structures
I Never Saw a Purple House
Chainlink Neighbourhood
Untitled
Suburban Windows
Moon Trellis
Garden Event
Autumn Grove
Like a House a-Fire
Somewhere In The Country
Photograph of Carol Hoorn Fraser
Afterword by Barbara Bickle
Biographical
Preface
Carol Hoorn Fraser (1930 – 1991), Wisconsin-born and Minnesota-educated, lived and made art in Nova Scotia for thirty years, with stays in Provence and Mexico. She worked with equal commitment in oils, graphics, and watercolours, but the watercolours that she produced in her last decade hold a special place in her oeuvre.
She suffered from allergies, and the five meticulously executed oils that she created in Tepoztlán in the winter of 1980-81 were increasingly stressful for her. What she did then, for the first time, was take a large sheet of glass, drip concentrated colours onto it, press sheets of drawing paper down onto them, and work the results up into images. She continued the process back home, with increasing inventiveness, as described in the