I use landscapes, rural and urban landscapes as a journey and stage for the drama of light, air and movement. I attempt to see past the structured architecture into the otherworldly qualities of the landscape. I am intrigued by the way light plays on architecture, energizing and describing form. There is a mystery in the dynamics of light and atmosphere in contrast to the architectural structures. My most recent landscape work has taken a new turn and delving into weather changes and dramatic effects on the landscape. The surface of the landscape paintings erupts with textured and expressive gestural marks, which are depictions of the radical weather events. The weather is instinctive inspiration for my tendencies as an alla prima painter. For many passed years, I have been obsessed with the rooftops of cluttered Brooklyn and New York City spaces, where the architecture is piled and pushing upon each other. Construction cranes, satellite dishes and scaffolding also play a role in creating the rhythmic urban spaces. I have exaggerated and edited qualities from city life into dramatic compositions. The sky and the spaces between buildings are as significant as the buildings themselves. I am fascinated by the city’s night sky, which reflects the ever-present human interjection of light pollution. In Southern France, I paint from the lush landscape, old and decaying buildings and by contrast, the modernized forms and structures of contemporary life. I painted primarily on site and in the open air. The small medieval villages and ancient farms inspired many paintings. In these works I depicted lush landscapes, claustrophobic village streets and dilapidated farms. My aim is to maintain an element of spontaneity and directness in the paint. A fluid and spontaneous quality in the every paint stroke is very important to me. I primarily work all prima and often plein air. I edit, emphasize and exaggerate structural forms from... (http://kellyannmonaghan.com/home.html) undefined

More on Google