Melinda Camber Porter (1953-2008)

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The Triptych Series

  • New in Fine Art
    • New in Fine Art
  • Paintings
    • Art of Love Tour
    • Barcelona Point Series
    • Fashion in the Time of Queen Elizabeth I (1558-1603)
    • Journey to Benares Series
    • Luminous Bodies Series
    • Luminous Bodies - Circles of Celebration
    • Luminous Bodies - Circles of Mourning
    • Night Angel Series
    • The Triptych Series
  • Public Exhibitions
    • 2016 University of South Dakota
    • 2010 Lincoln Center: Clark Studio, New York
    • 2010 Buffalo Ridge, Gary, SD
    • 2010 John Jermain Memorial Library, Sag Harbor, NY
    • 2006 School of Visual Arts, New York
    • 2006 British Consulate, New York
    • 2005 Paul Labrecque Salon, New York
    • 2005 Walter Wickiser Gallery, New York, NY
    • 2004 Oxford University, Oxford, UK
    • 2003 Asia Society Museum, New York, NY
    • 2002 Art for Healing Gallery, New York
    • 1999 Southampton College, Southampton, NY
    • 1996 Salon des Artistes, New York
    • 1995 Lincoln Center for the Performing Arts, New York, NY
    • 1993-6 The Art of Love Exhibition of Art, Books and Film

The Triptych Series consists of a series of twenty-seven large oils on canvas exploring the triptych form as both altarpiece and sculptural shape. However, the traditional subject matter of the altarpiece is merely hinted at, with only occasional apparitions of guiding saints and visiting angels who bless the lovers’ union that is the central theme of the series.

Each line that cuts open the canvas is not only a cutting motion into the entirety of the painting but is also a moment in time when change occurs. In many ways the dividing lines are mysterious and alchemical. On the other hand, there is a brutality within the dividing line that breaks open the emotion of the work and almost ravages it.

This characteristic “cutting action” of the dividers is also mirrored in the way that language is undermined in the series. Poetic imagery, which acts as the point of departure or inspiration for the work, is erased and often illegible; diary fragments appear, suggesting an autobiographical content to the paintings but are erased, scratched over, and later covered by commentary or poetry. Language never summarizes the emotion of the painting, but the calligraphic texture of the words and colors of the letters prevail.


PREVIEW THE TRIPTYCH SERIES

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