Emerald Rose Whipple: EXHALE
1. A young artist known for candid representation of uninhibited worlds embodied by youth culture
2. Whipple draws inspiration from ancient western philosophers such as Socrates, Plato, Aristotle, and Marcus Aurelius and ancient theological texts such as the Egyptian Book of the Dead, the Tibetan Book of the Dead
Emerald Rose Whipple is known for her paintings that capture the beauty, innocence, and unruliness of youth culture. Whipple explores the relationship between the soul and the divinity of light embodied by the subject of modern youth, her challenge is to highlight the experience of observation both as a construct of inner reflection and as an abstract observation. All subjects are linked to their representation of light by the artist just as we who coexist in reality are eternally and subconsciously connected.
Whipple draws inspiration from ancient western philosophers such as Socrates, Plato, Aristotle and Marcus Aurelius as well as ancient theological texts such as the Egyptian Book of the Dead, the Tibetan Book of the Dead, the Tao Te Ching. Her work also touches on the modern teachings of Thich Nhat Hanh, Ram Dass and Eckhart Tolle, which focus primarily on the Presentism movement. Her work acts as an allegory for ancient wisdom.
Whipple’s work challenges the view to consider the impact of light, divinity, and collective consciousness to draw conclusions on their own beliefs. Through this participation the viewer investigates not only the work but also the internal response to the paintings. The artist’s intent is to transmit a sacred atmosphere of unconditional love to the viewer to exist and participate in. The work disrupts the moment by pausing the minds attachment of the ego, and allows for an investigation of the present moment, one with the nature of all things. For Whipple, all that we experience is subjective, as there is no sensation without interpretation.
On view in the second floor at the World of McIntosh Townhouse are paintings from the series Natural High (left wall) and Transmission Transform (right wall). These paintings are a representation of sanctuary, the precious stillness and peace of tranquility within the turbulence of the world. The narrative scenes of a Hawaiian Forest floor and crystalline sunlight reflections displaced in crashing waves from Natural High are pulled from the artist’s childhood on the west coast and Hawaii. These landscapes create the atmosphere for the psychedelic portraits of model Samantha Gradoville, from the Transmission Transform series.
On view in the stairwell and throughout the third floor are paintings from the artist’s Eden & Genesis: Let there be Light series. Both reflect a candid representation of an uninhibited world embodied by youth. The narrative offers the viewer an especially intimate glimpse of a playfully captured universe of sensuality, recklessness, and the sublime. The portraits depict subjects Lindsey Hoover, Michael Bruno, Amanda Nørgaard, Chantal Stanford-Abbott, Hanne Gaby Odiele, Marcel Castenmiller, Imogen Morris Clark & John Swiatek in New York’s downtown Lower East Side in an archival documentation of memory.
The artist and the portrait subjects exist in a rebellious world of ecstasy. The energy of idyllic freedom and innocence permeates the body of work and recalls an endless chronicle of summer. By revealing the subjects through a lens of nostalgia, these paintings demand that the viewer to reflect on his or her own timeless narrative in tandem. (These pieces were covered by I-D MAGAZINE, THE LAST MAGAZINE, DAZED DIGITAL, DEMORGEN, H ART MAGAZINE, DE WITTE RAAF.)
Although modern in interpretation of subject, Whipple’ s pursuit of painting is in the tradition of the masters of the early 20th Century Impressionism and Pointillism – Paul Gauguin, Georges Seurat, Vincent van Gogh and Claude Monet – The brushstrokes are linear and controlled to a degree of pointillism, both in portraiture and abstract landscape. The commingling of dots manifest into strokes, woven together to reflect the modern media of digital photography distorted by pixel, which ultimately compile the image as a whole. The viewer is forced to study the work from afar allowing the eye to naturally create the image, because when immediately engaged the image is out of focus.