Louise P Sloane

         The work focuses upon geometric forms, grids and patterns. These detail oriented works are typically divided into rectangles or squares. The square as a repetitive motif, along with the grid provides structure.
Not wanting to obfuscate the traditional precepts of reductive art, my goal has been to utilize this rich past and move forward through my own modifications and additions. The flaws and imperfections of the repetitive handmade patterns and physical motion and depth of paint are accentuated by the geometric formalities within the paintings’ structure. Information has been encoded in lines and patterns throughout human history, and the work connects me to this personal past. Complex color contrasts intensify the textures’s dimensionality and compete for the viewer’s focus, keeping the eyes and mind in constant motion, fusing my interests in geometry, color, and light.
"...Sloane's paintings are now extremely concentrated, less discursive than in the past and zoom in on form, color and texture with more or less equal intensity. The formats are all verticals, off-square by a few inches for lift, and the compositions are quite straightforward but despite that, or because of that directness, that visual simplicity, they pack an enormous punch right between the eyes. Divided into four quadrants that frame a central square, the eye is drawn immediately to it as if to the center of a target—the “instant communication” that the artist strives for. Only then does the viewer begin to parse the whole. Sloane’s paintings recall Albers’ well-known color studies, Color Field painting and the geometric abstractions of the 1970s, all sources that have influenced her although her concerns are as expressive as they are formal."  From an essay by Lilly Wei "For The Love of Pure Color"