Meredith Fultz Part 4

These images are from my most recent series, exploring themes of time, humanity, and creation. These paintings mark a new era and style of artmaking that I look forward to continuing to explore.

Creation Monument 3 (Triptych): Earth, 2022, oil and sparkle on wood panel, 36×48 inches each

This is the third piece in my Creation Series, where I explore concepts of time, creation, and the earth. My biggest concern while making this painting was to make it look ancient and futuristic at the same time. The texture that I achieved through adding spackle to the painting was to make it look like my design was a carved stone relief. While each of the symbols in this piece mean something to me, I wanted to give the impression that I was paying homage to the earth, as echoed in my title. The concept of this series comes from my own personal struggle with coming to terms with the climate crisis. If I can think of civilization somehow prevailing in thousands of years, and the types of art that will be made when humanity starts over, it gives me hope that not all will be lost. 

Creation Monument 3 (Triptych): Earth (first panel detail), 2022, oil and sparkle on wood panel, 36×48 inches
Creation Monument 3 (Triptych): Earth (second panel detail), 2022, oil and sparkle on wood panel, 36×48 inches
Creation Monument 3 (Triptych): Earth (third panel detail), 2022, oil and sparkle on wood panel, 36×48 inches
Creation Monument 4: Reality, 2022, oil on canvas, 36×36 inches

This painting is the fourth piece in my Creation Series, and has a different tone compared to my previous painting. In this painting, I wanted to focus on making a futuristic composition through the symbols and the color choice. I wanted to vaguely replicate the colors that may be present in a projection, and contrast painterly strokes in the negative space, with the mechanical nature of my design. Much of my design inspiration for this series comes from symbols found in pre-historic cave paintings, artist such as Joaquin Torres-Garcia and Tim Ely, and other forms of geometric abstraction. 

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