Sandy Zane

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One Woman Shows

South Houston Gallery, Soho, New York, NY

Scarsdale Gallery of Contemporary Arts, Scarsdale, NY

Mount St. Mary’s College, Newburgh, NY

Fellowship Gallery, Poughkeepsie, NY

Easter Road Gallery, Hughsonville, NY

Taconic Arts Center, Hopewell, NY

Juried, Group and Invitational Exhibitions

Audobon Artists Annual, National Academy Galleries, New York, NY

National Society of Painters in Casein and Acrylics Annual, National Arts Club, New York, NY

University of Wisconsin-Milwaukee Art Gallery, Milwaukee, WI

Cooperstown National Competition, Cooperstown, NY

Internationale Exhibition de Artes, Grand Palais, Paris, France

New Mexico State Art Gallery Auction, Las Cruces, NM

Scarsdale Gallery of Contemporary Art, Scarsdale, NY

Rudolph Galleries, Woodstock, NY and Coral Gables, FL

Summerfield Gallery, Dobbs Ferry, NY

Seaman Studio Gallery, Poughkeepsie, NY

Plein Art Painters of El Paso, “The Barrio and Beyond”, Hal Marcus Gallery, El Paso, TX

Cultural Arts League, Hillsdale, NY

Sharon Creative Arts Foundation, Sharon, CT

Berkshire Art Association, Berkshire Museum, Pittsfield, MA

Dutches County Art Association, Poughkeepsie, NY

Tribute to Ludvik Durchanek, Bennett College, Millbrook, NY

Hudson Valley Philharmonic Festival, Vassar Institute, Poughkeepsie, NY

Adobe Horse Studio, La Mesilla, NM

Education

Bard College, Annandale-on-Hudson, NY, B.A., Arts Administration, 1980

Artist’s Statement

Sandy Zane began painting seriously in the early 1970’s, and after a hiatus of thirty years to raise four children and complete a career in the brokerage industry, she has again begun to produce the unique works that were her signature in the past.

Ms. Zane first became involved with the skin – as that which contains the soul and protects with such flimsy defense – fragile, vulnerable, yet strong and resilient. The techniques used in her works evolved as a result of exploration to push the ultimate limits of acrylic paint. Many thin, fluid applications of color form a “skin” of paint when dried on a non-porous surface. The skins are then removed and mounted on various supports: paper, canvas and transparent polyvinyl sheeting. Some works are two dimensional, while others form three-dimensional bas-reliefs on canvas or directly on the wall. In the last instance, the configurations of the works change with the installation. In each case, however, color and form are all important. The artist strives for colors that have a clarity and luminosity similar to stained glass with color modulations that are both delicate and subtle. Textures are achieved by pushing folds and bubbles into the skins as they are applied to the support. The tears that occur as the skins are removed from their non-porous surface become an important characteristic of artistic expression. She has recently expanded her explorations to include watercolor, collage, mixed media, printmaking and drawing into her works.

“Transparent tapestries are works by Sandy [Zane] that extend lyrical abstract paintings into three dimensions… Her choice of color is wide, ranging from dark browns and ochres to pure light blues and greens. The brighter colors display a luminosity which is necessary to retain the works above literalness…” Joseph Dreiss, critic for Arts Magazine, Ideas in Contemporary Art.