There has always been a delicate, yet deliberate boldness inhabiting Keren Seelander’s paintings. Be it in her blackened boundaries which demarcate the deliberate clash between highly personalised hues – the tempered ochres, burnt oranges and searing reds of some dark, uncharted emotional geography. Or in her dashing spontaneity that belies an edgy, raw primitivism barely restrained just beneath the gloss finish.
“The less spoken about my painting the better. The more felt about my painting the better.”
Inspired by music, verse, and mood as much by colour, tone, and texture, Seelander’s technique is not so much that we would find familiar to painting, but instead one of ‘marking’ and ‘remarking’. Despite the deceptively simple formality on display, there is a vigorous discipline at work in her art involving the painting-over, re-evaluating and re-contextualizing of her initial mark – its placement and position, its possibilities and power.