Location: United States
My work is about color, form, and light. Design is very important in my work. My works begin almost abstractly, and, gradually, become more realistic. Whether my work reflects things I am drawn to in nature, or non-objective or abstract work, the same rules apply. The principals of design are my structure. Because it is so challenging, I also like to paint still life and technically difficult pieces, such as glass, shells or people. I draw each piece after doing a value sketch. I paint color “as I see it.” I have returned to oil and acrylic, in addition to watercolor. Each one offers me unique problems and possibilities, but always a challenge to be conquered.
Julie Siler Olander holds a Master’s Degree in Art and has received international recognition during her 40 years of painting and teaching in various mediums. She taught at the College Level in the Boston Area, in Museum and Art Associations in Massachusetts and Florida. She studied oil painting with Charles Sovek, Sam Barber, Paul George, Robert Douglas Hunter, Martha Mans and Greg Biolchini; her watercolor studies were with Janet Rogers, Ron Ranson, Peter Spataro, Charles Reid, Frank Webb and Ann Abbgot.
Julie currently holds membership in Southwest Florida Watercolor Society, Naples Art Association, Oil Painters of American, Experimental Painters, the Portrait Society of America, Cape Cod Art Association, Falmouth Art Association, Chatham Creative Arts, and 21 in Truro.
Most recently, Julie’s art was accepted to a National Show at Attleboro Museum. Prior Museum Shows include Cahoon Museum, De Cordova, the Danforth in Framingham, Duxbury and Fuller Museums and Boston City Hall with a Russian Cultural Exchange. International Shows include Cornwall and Truro, England and St. Petersburg Russia. Her work is in collections around the world, including: USA, Africa, Canada, Europe, Hawaii, Russia, Tahiti and Mauritius.
In this piece “Collision”, I used metallic paints, paper, and threads, as well as acrylic paint to make this piece. I molded the paper over a pipe to make the hump on the collaged vertical piece before adding it to the painting. I did not cover it with glass because I wanted the viewer to easily see it in three dimensions.