After an exploration of geometric morphological forms—the square, the rectangle, the circle, arrays of stripes, lines, and dots—time comes to bring the elements together.  Abstract forms and representations of the Circle & Line series have led to easily recognizable landscapes. Thus, the artist returns to the structural forms of her youth but with the eyes and techniques of maturity. Solids, intense colors, and geometry, the Bibel hallmark, persists. This page is the result of several works of early development and exploration of entirely imaginary structures.

The source cities are recognizable but the paintings do not depict them as they are. Architecture is reduced to core lines and buildings are seen mystically, the intensity and contrast of hues akin to that perceived with prolonged meditation and other means of altered consciousness. Aside from this philosophical aspect, the art may be seen more fundamentally as orderly patterns of variously colored areas. Our consciousness and learning suggest familiar objects. Finally, this is in essence Fauvist architecture, with a touch of André Derain.  Over time, the series has evolved from somewhat garish to more harmonious, mellow holistic hue combinations.

Whether or not this morphological branch will extend into further evolved patterns or will become a truncated tributary remains to be seen, but the branching stream has become a river.

Debra Jan Bibel

MORPHOLOGIES:
An Exploration, An Evolution

 

City Synthesis —                     

Skylines

 

 

These images are part of an ongoing series begun in autumn 2008, This page is of mature, recent paintings since 2009 that look at cities from a distance and as an alternate reality.

See: City Synthesis —
 Interiors & Exteriors Series

See: City Synthesis —
 Metaphysics/Philosophy Series

See: City Synthesis —
 Developmental Stage

NOTE: All reduced and overly processed images fail utterly in even hinting at the quality and true colors of the actual paintings and their effect on the viewer.

 


Stacy's View 
(2017)
24 × 30 in.

Link to enlargement  
 

 


The Living Night
(2017)
36 × 36 in.

 Link to enlargement

 

 

 


Brave Old World
(2016), 40 × 30 in.


 Link to enlargement

 



The Great Divide
 (2016), 24 × 24 in.

Link to enlargement

 


Port of Call
 (2014), 40 × 30 in.

Link to enlargement
 

 

 


Cascade Colossus (2015), 48 × 24 in.

Link to enlargement

 

 

Before (2015), 36 × 36 in.
 



Boston Moods: I. Weather Front
 (2014), 48 × 24 in.

Link to enlargement

 


Brisk (2014), 40 × 30 in.
 

 

Philly Frolic (2014), 48 × 24 in.  
 

 

Outpost  (2014), 40 × 30 in.

Link to enlargement

 

 

 

Metropole  (2013), 48 ×36 in.
 

 

 

Corcovado View  (2013), 40 × 30 in. *

Some different perspectives of this painting: a lesson in seeing.

 

 


Botafogo Rising
(2014), 24 × 30 in.


 

 

Italia  (2014), 60 × 48 in.*

The pattern of the multi-hued buildings may suggest my style, but I would have not chosen these colors and would have instead created a more harmonious, balanced array. No, this painting is based on reality, derived from photographs. The northwest Italian coastal town of Riomaggiore looks very much like this, though its colors are faded, eroded, and more mottled.

 

 

Twins  (2013), 40,× 30 in.
 


Once Upon A Time  (2013), 40 × 30 in.  

Link to enlargement

 

 



Night in the Tropics 
(2013), 30 × 24 in.

Link to enlargement
 

 

São Paulo Spring (2012), 48 × 24 in. *
 

 

The Magic Hour (2012), 48 × 24 in.

Link to enlargement; browser zoom will provide details.

 

Choro (2013), 30 × 24 in.

 

 

Last Light (2010), 36 ×24 in.
The Strait and Narrow (2010), 36 × 36 in. 
Going Home (2010), 48 × 36 in. 
The Edge of Beyond (2009), 40 × 30 in.
Renaissance City (2009), 36 × 36 in.

Summer in the City (2009), 36 × 36 in.  


Bridge between Two Worlds (2009), 30 × 40 in.

 

 

See: City Synthesis — Interiors & Exteriors Series

See: City Synthesis — Metaphysics/Philosophy Series

See: City Synthesis — Developmental Stage

*  Sold        × Personal Collection

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All images are copyright by Debra Jan Bibel.  Permission for use in electronic media or for printed reproduction is required. 
Links to this website are permitted only if artist identification is included in direct view, not just within source code.

 

Rev. July 20, 2016