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.

In earlier series, 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 psychological aspect, the art may be seen more fundamentally as orderly patterns of variously colored areas. Our consciousness and learning suggest familiar objects. Over time, the series has evolved from somewhat garish to more harmonious, mellow holistic hue combinations.

From distant city skylines and close-up architectural forms, now comes new approaches, symbolic, further away from common reality. These works are constructed on a deeper philosophical foundation, a cosmos of gerunds and process, of holistic energetic elements. This page records probes when the Muse smiles.

Debra Jan Bibel

MORPHOLOGIES:
An Exploration, An Evolution

 

City Synthesis —                     

Metaphysics / Philosophy

 

 

These images are part of an ongoing series begun in autumn 2008, This page is of experimental works derived from cityscapes and architecture.

See: City Synthesis —
 Skyline Series

See: City Synthesis —
 Interiors & Exteriors 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.

 

 

Wind of Change  (2017)
36 × 36 in.

Image fails to depict red veins in leaves.

 

 

The Living Night (2017)
36 × 36 in.
 

 Link to enlargement

While based on a photograph, the color palette is altered to emphasize a living, vibrant, holistic city-organism. Night hides the flaws and dreariness of a city, and although it also obscures the joys of architectural detail, the nightscape takes on the magic of a bioluminescent landscape.

 


Path of Serenity
(2016)
36 × 24 in.

 Link to enlargement

Another Buddhist painting, the nighttime street scene is the Itaewon entertainment district of Seoul, Korea without its crowds. Zen monks, one striking a moktok wooden percussion instrument, are present instead. The contrast of the gray-clad monks of different technique with the busy, flat geometric, multiple neon-lit street is obvious, but it does represent the meditative state of mind. The colors this time are essentially actual, taken from a photograph.

Also in Interiors & Exterior Series

 

 

As If (our mosaic world)  (2016), 36 × 18 in. 

Link to enlargement

In this illusive world, we see solids and smooth surfaces, but this is false at great magnifications. The world is a mosaic of fuzzy atoms whose composite reflected photonic image is cast upon our retina of individual cells, each providing neurological signals that are deconstructed as to line and shape and reconstructed and analytically correlated into categorical perceptions. The painting's shimmering sky and water represents such atomic dynamics and the fluidity of the environment surrounding a perceptively solid, steadfast city of Venice and its Rialto Bridge.

 


Sacred Geometry
 (2016), 48 × 24 in.

Link to enlargement

In Buddhism, things are neither sacred nor secular, but our cosmos is defined by mathematics, and shape in part rules behavioral processes in chemistry, biochemistry, and material science. Taoist principles concern harmony and balance of dynamic forms and space. Thus, while not holy, geometric forms are wonderfully important. The painting consists of geometric shapes and in a way atomizes categorical structures. The painting is based upon the Chengyang Bridge in southern China.

 

 

 

Archive of Memories   (2015), 36 × 24 in.

To be viewed afterwards with an associated hand-held red filter [as camera lens filter]

Link to enlargement


The painting is based on the national library in Brasilia, which does not have a mosaic on its wall. This is my invention, which suggests the incomplete, sketchy basis of memories and how we filter the scattered engrams to emphasize elements. The river mergers, trees, and hills refer to Brazil.

 



The Harp of Brazil
 (2015), 48 × 24 in.

Link to enlargement

Waves and ripples are ephemeral patterns of movement within a larger structure. The watercourse way, Tao, is the metaphor of interactive processes of essentially no-thing, as is music.
 

 


Sutra  
(2015), 30 × 24 in. 
×

Link to enlargement

The building and wall is of a Korean monastery with the background being a composite of Korean mountains. The contrast in styles depicts the different perspectives of reality according to experiences within Hwa-om / Hua-Yen dharmahatu: the common way of solid, static, independent objects; the flowing, indistinct co-dependent elements of form; and the simultaneous perception of both within a larger framework. [Scientifically, try to visualize the world as interactive and flowing categorical constructions [behavioral patterns] of atoms and molecules].

 

 
Discontinuities  
[perception & time-space]
 (2015), 36 × 24 in.

Link to enlargement

This work is derived from neurological processes and theoretical physics.

 

 
National Guardian
 (2015), 24 × 36 in.

Link to enlargement

This is the Central Bank of Brazil in the Capital, Brasilia.

 

Fugue (2015), 24 × 24 in.

See: City Synthesis — Skyline Series

See: City Synthesis — Interiors & Exteriors Series

See: City Synthesis — Developmental Stage

*  Sold        × Personal Collection

City SynthesisSquare/RectangleStripes
Circle & LineDotsSwirl & Curve
OpMiscellaneousMountainscapes
AntecedentsCalligraphyPhotography


HOMEContactTitle-Price Index

 

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. Sep;tember 25, 2016