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Artist Statement:
To look at my work is to see
my life, a celebration of
light, joy in quiet places and
simple things, realism.
Anchored by close
realistic observation, I
modify pattern and shape to
enhance and explore my
subject. I love experimenting
with diffused light and deeply
shadowed forms. Permanence is
a recurring theme in my art. I
often depict structures and
objects that have weathered
the test of time and change.
Each image tells a story. I
purposely make windows dark
and objects vague, leaving the
viewer to become their own
storyteller.
My goal is to continue
to grow as an artist, to fully
explore each idea and image as
I utilize the flexibility and
versatility inherent in the
intaglio medium."
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Further Information
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Artist Exhibitions:
Arts and Crafts Exhibition,
Providence Art Club, RI 2001
“Time Pieces,” Newport Art
Museum, Newport, RI, 2000
58th, 59th Exhibitions Audubon
Artists, NYC 2000, 2001
23rd National Print Biennial
2000, Silvermine Guild Arts
Center, CT
“Transatlantic 2000,” Belfast,
Dublin, and Clotworthy,
Ireland
Pfizer “Regional Artists
Exhibition 2000,” Groton, CT
2000
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Further Information
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Artist Galleries:
Spring Bull Gallery, Newport,
RI
Aurora Gallery, Annapolis, MD
Arnold Art Gallery, Newport,
RI
the Donovan Gallery, Tiverton,
RI
Artemis Inc., Bethesda, MD
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Further Information
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Collections:
Coming Soon!
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Commissions:
Coming Soon!
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Reviews for Carol Fitzsimonds:
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Reviewer Mark St. John Erickson
Daily Press, Sunday Dec. 10, 2000
“Printmakers Inc.,” Twentieth Century Gallery, Williamsburg, VA
Nov. 21 - Dec. 22, 2000
Printmaking has come a long way … Carol FitzSimonds' hand-colored aquatints blend both the old and the new, using a centuries-old etching technique to create a contemporary, often deceptively abstract view of her surroundings.
Working from both photographs and detailed sketches, she explores the world of old houses, porches, fences and gardens intently, focusing so closely on details of light, shape and shadow that the structures themselves are virtually forgotten.
FitzSimonds' hand-drawn lines add to the elusive impact of these lush, often mysterious outdoor realms. So does the sensuous progression of aquatint tones from lightest gray to blackest black, especially after the artist goes back over each image and reinforces this effect through the judicious application of color.
What results are walls of brick, rows of pickets and even clumps of leaves that appear charged with an unusual visual energy. Look at them long enough and they begin to move according to some wonderfully elegant yet previously unnoticed rhythms.
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