Each impetus of Constance's Monet Redux extrudes the essence of their origins. Her interpretation is a topographical observation, surveying and flattening the perspective and rendering an extracted and abstracted expressive filtered composition, which either magnifies an element and or in a reductive manner simplifies it; the color palette and light of the day of Claude Monet's Giverny garden and his paintings are referenced and are something familiar and anew.
Claude Monet's Giverny palette was the inspiration for "Monet's Garden No. 1" 48x78, "Monet's Garden No. 2" 48x76, and "Monet's Pond" 26x48, which already sold to a corporate client through Mahler Fine Art in Raleigh NC.
I want to absorb a room full of these large pictures before I release them to one of the galleries that represent me. I am currently building a viewing room in my studio to immerse myself in, which will be complete in August. I recall the feeling I had when I spent an afternoon viewing Monet's lily paintings in the Musee de L'Orangerie in Paris; not that I will have the fantastic oval room of L'Orangerie or try to create wide-spread pictures like Monet; though I have been recently commissioned to paint a sixteen-foot painting. The saying "if you build it they will come" is a phrase I have taken to heart and it has motivated me to create a series and possibly explore other impressionists palettes to expand my visual color vocabulary.