“Equanimity is reached in my work as structural lines hold despite insistent disruptions, speaking to stability within chaos. Recent work delved into the dark beauty of those disruptions that disorient balance like an internal weather system moving though one's consciousness.
Focus turns to the shaped pieces which encapsulate the flow of emotion, releasing the gestural image from its' format. There is a dichotomy between thought and emotion. Emotions composed of energy, flow like water mixing with consciousness liked to pigment, together create a vivid flow a colorful energy."
Internationally exhibited, Patter Hellstrom creates abstract panel paintings on polypropylene that invoke the calligraphic painting tradition while exploring the dark side of beauty. Expressive brushwork in fluid color balanced along centerlines creates a dynamic equilibrium in her acrylic ink paintings on polypropylene. Encompassing themes of impermanence, compassion, stability, and interdependence these works speak to Buddhist concepts. Each piece defined by centerlines, providing balance, and acting as a point of reference within areas of color. A graphite cross-hair element evokes a sense of detachment among a host of competing forces. Centerlines hold despite disruptions of splashed color and textured brushwork, suggesting stability within chaos and a curious interdependence between two forces.
Hellstrom's paintings are informed by her installations. Impermanence was paramount in Flower Mandala, whose components were chosen for their beautiful, yet ephemeral nature. Utilizing the Buddhist sand mandala tradition, Flower Mandala created a compassionate dialogue in the JPMorgan Chase Project Space, adjacent to the World Trade Center site. This seminal work combined the desire to visually explore traditional art forms, and embody those concepts in a contemporary art context.
Since moving west to California in 2004, natural materials have dominated her installations while man-made materials have become prominent in her paintings.
Impermanence is relevant in the installations, with rock and glass unattached to a base, allowing material to change with forces acting upon them.
What the critics have been saying about Patter Hellstrom's work:
"Meditate on the confluence of art and spiritual practice here through Patter Hellstrom's manifestations of serene spontaneity." Alan Bamberger Artbusiness.com
Deirdre Visser, CIIS arts curator, comments on the mural: “Mapping the emotional, psychological and cognitive dimensions of grief, as they’re experienced through time, Hellstrom’s piece will complicate conventional ideas about grief and loss. These conventions include suggestions that it should last only a fixed period of time, or that there is an uni-directional path of healing that will be common from one individual to the next, or even one experience of loss to the next for the same person.” The mural will be on view to the public through the end of 2012.
ArtBusiness said of Patter Hellstroms' work: "Bright colors frozen in motion and abstraction. Wonderful and accessible. These artworks meander their way into your consciousness."
Jason Lahman's extensive essay about Hellstrom's work
Patter Hellstrom's Sublime Choreographies of the Centered Self - "The rich acrylic inks slide, stretch and swim across the polypropylene, the visual equivalents of musical sounds.....The volatility of liquid has been channeled with extreme skill into compositions that are redolent with the rhythms of underlying cosmic processes. One feels that the surface is a laboratory, a theatre to witness the mysterious stages of an alchemical unfolding." Jason Lahman is a Guest Blogger Art21, historian, poet and essayist based in San Francisco
LA Weekly said of her work: "Patter Hellstrom, whose calligraphic brushstrokes and daring use of color will have a natural dialogue with the chance element of the flow painters."
DHARMA TALK : Got Attitude? by Steve Armstrong with paintings by Patter Hellstrom Tricycle FALL issue 2010 ~ byline and reproduced art by Patter Hellstrom Got Attitude?
South Winds, 2007, 20" x 26" acrylic ink on polypropylene; © Patter Hellstrom