ARTIST INFO
Miranda Joy Summers
Sydney , Australia
Miranda Joy Summers
WHITE LIGHT ~ A Solo Exhibition
August 2024
Before Sound, Before Sun, Before Heat, there is WHITE LIGHT.
Miranda's latest body of work is an exploration of landscapes inspired by the heavily soluble atmospheric conditions of humidity. In the early morning on Sydney Harbour, as the sun rises into the thick air of late summer, the sky transforms into a pure, dazzling white refractive light. The sea in the distance merges seamlessly with the sky and distant harbour shore line pales to a blot creating an illusion of infinite space. Water pools silently around my feet and the rocks resemble stepping stones into the void. There is no above or below, just WHITE LIGHT.
Using a palette knife and impasto oils, Miranda captures the essence of water and land, the interplay between soluble and solid matter. Her palette knife strokes are deliberate and expressive, aiming to best describe the scene through texture and form. She emphasises the dynamic interplay between negative and positive space, creating a unique dialogue between the foreground and the perceived distance, effectively reducing spatial separation. This technique challenges conventional perceptions of tone and shape, inviting viewers to engage deeply with both the immediate view and the encompassing bright white light that dominates the sky, capturing the essence of this transformative moment.
WHITE LIGHT ~ A Solo Exhibition
August 2024
Before Sound, Before Sun, Before Heat, there is WHITE LIGHT.
Miranda's latest body of work is an exploration of landscapes inspired by the heavily soluble atmospheric conditions of humidity. In the early morning on Sydney Harbour, as the sun rises into the thick air of late summer, the sky transforms into a pure, dazzling white refractive light. The sea in the distance merges seamlessly with the sky and distant harbour shore line pales to a blot creating an illusion of infinite space. Water pools silently around my feet and the rocks resemble stepping stones into the void. There is no above or below, just WHITE LIGHT.
Using a palette knife and impasto oils, Miranda captures the essence of water and land, the interplay between soluble and solid matter. Her palette knife strokes are deliberate and expressive, aiming to best describe the scene through texture and form. She emphasises the dynamic interplay between negative and positive space, creating a unique dialogue between the foreground and the perceived distance, effectively reducing spatial separation. This technique challenges conventional perceptions of tone and shape, inviting viewers to engage deeply with both the immediate view and the encompassing bright white light that dominates the sky, capturing the essence of this transformative moment.
ARTWORKS
Miranda Joy Summers
Loud Light
Oil on Canvas (Flooded Gum Frame)
100 x 100 cm
● Sold
Miranda Joy Summers
Kaleidoscopic Silence
Oil on Canvas (Flooded Gum Frame)
100 x 120 cm
● Sold
Miranda Joy Summers
Long Bay At Cammeray Triptych (Purchased as a Triptych)
Oil on canvas
102 x 306 cm
● Sold
Miranda Joy Summers
F.Stop Rusty White Light
Oil on Canvas (Oak Float Frame)
76 x 76 cm
● Sold
Miranda Joy Summers
F.Stop Rock White Light
Oil on Canvas (Oak Float Frame)
76 x 76 cm
● Sold
Miranda Joy Summers
Under Rusty Fig White Light
Oil on Canvas (Oak Float Frame)
102 x 153 cm
● Sold
Miranda Joy Summers
White Light Triptych (Purchased as a Triptych)
Oil on Canvas (Oak Float Frame)
102 x 306 cm
● Sold
Miranda Joy Summers
F.Stop White Light White Light
Oil on Canvas (Oak Float Frame)
102 x 102 cm
● Sold
Miranda Joy Summers
F.Stop Scarp White Light
Oil on Canvas (Oak Float Frame)
46 x 61.5 cm
● Sold
Miranda Joy Summers
Pimelia (Vic Ash Float Frame)
Oil on canvas
20.5 x 20.5 cm
● Sold
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