"Lois Gold's new work is a departure from what I have seen come out of her studio in years past. Formerly interested in classical figuration in her painting, Gold's brushwork has evolved into an exploration of color and texture. When speaking with her about art history in general and her art specifically, allusions to the Impressionists' palette and the light of European Old Masters are referenced. Though true to her own expression, there are subtle historical references that can be appreciated in her oeuvre."
"Trilogy III" confounds its viewer. Is the scene depicted an abstraction of reflected clouds on water? Are the panels supposed to be "read" in a narrative manner? Indeed, the organic forms depicted are reminiscent of the pond grasses that Monet spent years trying to reproduce in his Giverny gardens. Unlike Monet, however, Gold is more concerned about capturing the saturations of blues, greens and yellows in mesmerizing sequences. "Landscape Behind a Scrim" is rich in color and especially texture. The collaged fibers create a veil resulting in a fractured background much like stained-glass windows. The doorway in the lower right remains intact with new growth emerging from the opening, perhaps a symbol of renewal?
"The archaic and a sense of timelessness are also evident in Gold's paintings. The variegated colors in "Fresco II" hark to ancient walls with pigments one associates with Pompeii or Istanbul. "Kashmir" is the culmination of Lois Gold's use of mixed media. Layers of colors, recalling the temple walls of Raghuntha in northern India, are highlighted by stencil patterns ubiquitous in the East. "Portal I", "The Window" and other works are both literal as well as mystical creations that make references to not only the passage of time, but to the timeless quality that will endure in Lois Gold's paintings."
August O. Uribe,
Former Senior Vice President
Impressionist and Modern Art