Catalogues & Essays
2022 exhibition essay by Georgia Lassner: Invisible Instruments: On Sigrid Burton’s Making Light Visible
Invisible Instruments: On Sigrid Burton’s “Making Light Visible”
Tufenkian Fine Arts, September 6-October 29, 2022
How is it that an artist can dedicate one, five, seven, ten years to a distinct work of art? So many iterations of burnt umber, rabbit skin glue, and oil stick; so many intimate encounters with the same piece of linen, stretched to the brink, inundated with paint strokes applied in every state of mind, temperature, and pressure, on every kind of day —from the suffocating, particulate heat of Los Angeles to the blindingly bright snow days of New York City. And still, a visitor to Burton’s Pasadena studio won’t be told, but instead, asked; what do you think?Read More...
by Michael Duncan
Love for the physical properties of paint has motivated great artists since the Renaissance. The colors, forms, and light generated in paintings by Piero, Titian, and Pontormo continue to take us beyond biblical or mythological content into swooning appreciation of activated sky blue, rosy pink, and deep verdant green. Over the centuries, oil paint has steadily continued to perform, subtly animating the allegories of Vermeer and Poussin, splashily complimenting the exotic settings of Delacroix and Moreau, and emerging full force in the stormy skies of Turner, melodious waters of Monet, and crepuscular evenings of Redon.Read More...
Sigrid Burton and Carole Ann Klonarides both came to New York in the early 70s as painters and met in the then close-knit art community of SoHo/Tribeca. Klonarides, discovered video at its onset and stopped painting but never lost her love for it.
This interview was conducted as a continuation of their ongoing conversation in anticipation of Burton’s solo exhibition at Tufenkian Fine Arts.
CAK: Why do you feel obliged to paint? I mean, what is that attracts you to this medium above all others available to artists today?
SB: The physicality, the muscularity, if you will, of paint as a medium appeals to me both as a maker and a viewer. Although there’s obviously a limitation with a two-dimensional surface, I find oil paint to be almost limitless in both color range and the effects achieved from application.Read More...
Jung Journal Culture & Psyche
(Spring 2014 Volume 8, Number 2)
ABSTRACT: In a conversation between Jungian analyst Katherine Olivetti and artist Sigrid Burton themes are touched upon concerning color and the influence on Burton’s work of her travel to and study of India. In addition a discussion of the influences on the artist’s life are considered.Read More...
Michael C. Rockefeller Art Gallery, State University of New York, Fredonia, 2001
Text Only Version of Essay from Exhibition Catalogue
by William C. Agee
Professor of Art History, Hunter College
In her recent paintings Sigrid Burton travels to many worlds, both near and distant, as she has during her life. The domains she explores may seem to be disparate and disconnected, but they alternately meet, intersect, fuse, and then disappear, like apparitions, in liquid pools of mist and color. Her pictorial odyssey refers simultaneously to both a higher order, a timeless cosmic vastness, as well as to a private, interior world, abounding in personal histories and memories. These paintings have a new quietude, an ease and serenity about them that bespeaks a calm assurance in her direction. Their aura will hide their genesis, that in fact they were born of a crisis of confidence.Read More...