"My paintings take landscape and nature as their subject and as a point of departure. I embrace the imperfections and the accidental relationships that evolve among multiple layers of paint and graphic marks. I start with pools of color that blend and disperse into the canvas. These large areas are then layered with collaged printed marks from a vocabulary of hand-made printmaking tools I developed from my impressions of ordinary objects and experiences, such as a pattern formed on a sidewalk from an afternoon shadow, swaying branches or rippling on the surface of a lake." --Laura Fayer
One must be cautious with the term “organic” these days. The word, once synonymous with nature and biology, has somehow found its way onto everything from bikinis to bleach, leading to skepticism of that which would otherwise boast the now-marketable label. The abstract paintings of Laura Fayer, however, vindicate the much-maligned phrase, seeming every bit as much a part of the earth as they are the artist’s studio. In her second solo show at Thomas Robertello Gallery, the New York City artist presents “Pull of the Moon,” a series of delicate, layered works using acrylics and rice paper to create dreamlike visions of movement, nature, and light. These stratas, formed from Fayer’s own handcrafted stamps and stencils, seem cut from the earth itself. Works like “Fresh Air” showcase brisk, vibrant sweeps of paint, the traces of Fayer’s tools still visible in the white, blue, and crimson contrails. The environmental architecture of another work, titled “Solstice,” draws viewers in with a complex array of dark, inky wisps on the lower end of the rice paper canvas before tapering as it rises up like sable flames blown upward by an unseen wind. Though they may appear simple, Fayer’s works demand attention, their starkness and delicacy evoking awe and respect—not unlike the humbling power of nature in its rawest state.
--Jaime Calder, New City Art (Chicago, 2009)