Tracing the Contours of Art, Science, Technology and Cognitive Neuroscience
Category: 1990-1999
This collection showcases work Amy Ione created between 1990-1999.
Since the purpose of this website it to archive her work from the 1970s to the present, both successful and less successful work is displayed. The website chronology is sorted by decades and pieces are not further sorted by date within each decade.
For more information on any of the shown works, the caption below the painting is linked to details for that specific piece or send an email.
Reflections on Water #2 continues the perceptual inquiry begun in 1991 with the Reflections on Water #1 painting. It also shifts the emphasis by re-positioning transparency, overlay, and compositional variation.
Executed on hot-pressed watercolor paper, the second of the two Reflections on Water paintings was conceived on a smoother surface. Thus, it demanded a different approach: layered color washes and varied line widths create resonance without relying on textural grain. In other words, in Reflections on Water #2 the clarity and vibrancy derive from the controlled transparency of acrylic overlays, producing luminous effects that evoke water’s shifting reflections.
Reflections on Water #1 is a seductive exploration of perceptual resonance achieved through the interplay of intuitive gesture and technological precision. Executed on rough watercolor paper, the surface’s tooth resists smooth application, producing a grainy, expressive texture. Using templates to compose the airbrush overlays, and combining this with ink linework, emphasized the tension between fluidity and structure. The painting’s vibrancy emerges from the uneven absorption of pigment, which creates shimmering effects akin to water’s reflective qualities. Thus, overall, the work embodies a dialogue between material resistance and artistic control, situating it within late 20th-century explorations of perception and surface.
Reflections on Water #2 continues the perceptual inquiry begun in 1991 with the Reflections on Water #1 and the 1992 Reflections on Water #2 paintings. The earlier paintings emphasized transparency, overlay, and compositional variation using water-based paints and an airbrush. This rendition used oil paint and a wood panel.
A seductive, reflective work was composed on archival paper using odd shaped cutout templates, air brush, and a traditional brush. As the artist, I see this as very much a process piece. In retrospect, part of the charm of this composition came about due to how the outside black triangular shapes frame the overall artwork. They were applied to cover some airbrush splotches that distracted from the composition. Continue reading “Reflections on Perception and Visual Music (1992)”
The sliver of white paint outside the forms that suggest a circle in this medley accentuates that geometries can evoke phenomena. Key here is how the shades of blue, green, and white come together perceptually to suggest and add a spatial depth that teases the viewer’s experience of it. Continue reading “Blue Eclipse (1998)”
Reflections on Water #4 is another work in the perceptual inquiry referencing water begun in 1991. The earlier works are Reflections on Water #1 (1991), Reflections on Water #2 (1992) and Reflections on Water #3 (1998). The first two paintings emphasized transparency, overlay, and compositional variation using water-based paints and an airbrush. The third rendition used oil paint and a wood panel. This piece is a monoprint conceived on paper using oil-based inks and a press.
The tree of the knowledge or of good and evil is one of two specific trees in the story of the Garden of Eden in Genesis 2–3, along with the tree of life.
This painting was created with an airbrush, intuitively cut templates and ink. Back of paper includes an abandoned airbrushed draft.
