Pam Black

  • Selected Works

    Architecture of the Field (#1), 2017. Oil finger painting on canvas, 30 x 48 inches

    Architecture of the Field (#2), 2018. Oil finger painting on canvas, 24 x 48 inches

    Architecture of the Field (Rosa), 2018. Oil finger painting on canvas, 24 x 24 inches

    Architecture of the Field (Dakota with Fence), 2017. Oil finger painting on masonite, 9 x 12 inches Sold

    Architecture of the Field (Rosa and box), 2018. Oil finger painting on masonite. 9 x 24 inches

    Architecture of the Field (Rosa and Oscar), 2018. Oil finger painting on masonite, 9 x 12 inches Sold

    Architecture of the Field (Cowboy), 2018, Oil finger painting on masonte, 9 x 12 inches

    Dirt Drawing (Dakota and friend), 2017. Soil on paper, 17.5 x 21.5 inches framed

    Dirt Drawing (Peppy), 2017. Soil on paper, 17.5 x 21.5 inches framed Sold

    Dirt Drawing (Doc and friend), 2017. Soil on paper, 17.5 x 21.5 inches framed

     

    Architecture of the Field (Willy), 2017. Oil finger painting on masonite, 9 x 12 inches

    Evening Siting, 2017. Oil finger painting on canvas, 24 x 24 inches

  • Statements

    My work in the exhibit, Three Voices is the continuation of the series titled Architecture of the Field, a play on the phrase, field of architecture. I teach free-hand drawing the School of Architecture where I am surrounded by displays of diagrams, plans and sections of structures and spaces and terms like constructionguidelinesperspective and palimpsest are commonly heard. Over time, these images and language and crept into my creative process, in my studio and in the classroom, as well.

    Measuring, analyzing, diagramming and constructing figure and space underlies the compositions of my paintings and drawings of horses in their natural environment. This environment is one I walk through and observe, daily, mingling with a herd of twenty horses. I make note of the relationship of the herd to remnants of architectural features such as fences, pens, structures and troughs that once functioned in the field, but are only partly assembled. I am drawn to this landscape that doesn’t hide its history of use and the wear and tear of time. Stitched lines on my canvases refer to this.

    I have found finger painting to be the best way to express the merging of the analytical with the organic. Fingering the painted forms in space on the canvas help me feel the proportions of the figures in the field without being hindered by brush or knife. This process also brings to mind the tactile experience of owning and caring for an equine partner.

    Pam Black

    2014

    These finger paintings evolved from the work I do with horses. As I feed, groom, water, bridle, saddle and stroke, I am highly aware of my hands as tools for communicating. More often that not they replace words for praise, well-being, safety, trust, and discipline. In the studio, as I try to capture my experience with the horse, my hands, again, serve to communicate. With my fingers, I try to capture tactile sensations and accuracy, relying on my many years of observing and drawing horses in their habitat.

    Pam Black

    December 2003

    Oakland Heights Farm – Stable Contemplations

    It was a quiet day at the stable. No dogs came out to greet me as I drove up to the barn. The big horse trailer was gone, which usually meant that Sally was out foxhunting and there was no sign of David. Since I have been coming out to the Lambs’ to ride, I have learned how to read the signals that suggest what is happening on any given day. For instance, one can usually tell where the Lambs are by observing their dogs. If the dogs are resting by the back door, most likely Sally and David are inside the house. Otherwise, the dogs are milling around the barn, making everyone feel welcome or at least noticed. If David’s chaps and saddle are missing in the tack room, that is a pretty good indication that he is already out trail riding. Today, I spotted their housekeeper’s car in the driveway, which meant that she would be on the premise for a few hours.

     

    I actually enjoy these kinds of days where there is no planned trail ride and I am free to meander through the fields at my own pace. I went to the pack pasture to get my gorse, Louie, a fuzzy steed this time of year. Since the weather had grown colder, it didn’t take much coaxing to get him into the barn. All I had to do was call his name and he would slowly make his way down the hill and through the herd. I loved the way he would pass through the other horses with his ears back, focused on a treat he would receive at the end of his trek. He was a small horse, but he made his statement clear. It was always good to see him and I expressed this with a pat on his neck and a gentle massage on his forehead and ears. Over the past few years, I had learned what it meant to trust my horse. Louie had carried me up and down the mountain countless times without mishap. And he had become more trusting of me. Four years ago, when I bought Louie, David said that we would grow together, and he was right. David also said that I would be learning patience while learning to become a horseman. He was right about that too.

     

    After saddling Louie, I headed out to the front field with my dog, Sugar, to my favorite path that leads to the mountain. The scenery consisted of beautiful fields full of gorses, geese, deer, and an occasional fox. When I am alone, I like to play simple games with my horse, like weaving through the trees, crossing fallen logs, and riding off trail. This keeps the otherwise routine ride interesting. Sometimes, I like to pretend that this land is mine and that I am out surveying it on horseback.

     

    Today, I spied a herd of horses, about 15 of them, keeping Louie and me in their sight. They were across the large pasture, but acting very curious even at a distance. It felt a little odd because the horses in this particular field are usually grazing or resting. I had never seen them so animated and in a mass. I sensed that I should urge Louie onward to the hedgerow and wire fence that would act as a barrier if I needed it. Just as we were on the other side, the herd began to charge at full speed. They were heading directly towards us and would be able to reach us in a moment. I sat very calmly on Louie until the herd slowed to a trot as they negotiated the opening in the fence. As they approached, I tried to wave them off, but they acted as an entity, kicking, biting, and being provocative. Louie was cool and collected at first, but then began throwing his head from side to side, pawing the ground. He clearly wanted to be free of his reins and rider. I recalled the advice of David and rode him forward, finding some protection and escape through the brush. The other horses followed and even circled while we moved. I continued to look for ways through the woods that would offer some distraction. Louie’s excitement grew as he whinnied and pulled, trying to join the others. He was quite beautiful to watch as his nostrils flared and his eyes widened. I could fee his power beneath me. All I could think of was perhaps a mare was in heat.

     

    We finally made it to the gate that separated the fields from the trails and went through without incident. Louie gave one final call as I closed the gate behind us and headed up the mountain.

     

     

    Stable Contemplations, 2011

    Reflections on a day at Oakland Heights

    The anticipation of looking into the eyes of my horse, of ritualistically going into the tack room, grabbing my halter, walking to the gate, opening it, and listening to the chain jingle as I replace it on the post – then looking yonder into the field for a particular gray horse – one with a dark mane – when I spot him, I walk toward him, sensing his gentle spirit in his large body – as I come closer, he lifts his head and turns to look at me – in a few seconds, he shifts his front legs to face me, thinking his alert, brown eyes – his first few steps are tentative, then he evens out into a rhythmic stride – as he approaches, I observe his motion, looking for any abnormalities – suddenly we are face to face and I automatically run the palm of my hands over his eyes, removing debris and flies – he stands while I give his whole body a quick inspection – then we begin our walk back to the barn.

     

     

     

     

  • Curriculum Vitae

    Education

    Pratt Institute, Master of Fine Arts  Brooklyn  NY [1979]

    Washington University, Bachelor of Fine Arts  St. Louis  MO [1976]

    Teaching Experience

    University of Virginia, School of Architecture and Department of Drama, Charlottesville VA [1999 to present]

    McIntire Department of Art   Drawing I and II [1997 to 1999]

    Piedmont Virginia Community College Charlottesville VA [1985 to 2008]

    Albemarle High School Charlottesville VA [1986 to 1992]

    Related Experience

    University of Virginia Charlottesville VA [2012]

    Movement and the Human Body, a workshop given in support of the Creature Project (a cross-disciplinary event between Department of Drama, School of Architecture, Studio Art

    Beverley Street Studio School Staunton  VA [2012 + 2014]

    Finding Accuracy Through Expression Workshop

    Art Center in Orange  Orange VA [2010] [2013]

    New Work by Laura Edwards Wooten Invited Curator

    University of Virginia School of Law Charlottesville VA [1998 to 1999]

    Annual Art Exhibitions Curator

    Virginia Center for the Creative Arts Sweet Briar  VA [1998]

    Fellow Artist in Residence

    Virginia Festival of the Book Charlottesville  VA [1997 to 1998]

    P iedmont Virginia Community College Student Book Designs Presenter

    James Madison University Harrisonburg  VA [1992 to 1993]

    Sawhill Gallery Regional Art Advisor

    Piedmont Council of the Arts Charlottesville  VA [1992]

    Emerging Artists ‘92 Curator

    Charlottesville/Albemarle County Chamber of Commerce, Executive Seminar Series VA [1991]

    Leadership Charlottesville, The Arts Connection

    Presenter of visual arts project for area executives

    Invited Lectures

    Beverley Street Studio School  Staunton VA [2011]

    Charlottesville Watercolor Guild  Charlottesville VA [2011, 2013]

    School of Architecture, Common Course, University of Virginia, Charlottesville  VA [2011]

    Woodbury Forest, Drawing and the Creative Process, Orange VA [2006]

    Les Yeux du Monde, Conversation with the Artists, Charlottesville VA [2002]

    School of Architecture, Lessons in Making, University of Virginia, Charlottesville VA [2001]

    Babcock Fine Arts Center, The Evolution of Eve, Sweet Briar College, Sweet Briar VA [1997]

    Department of Sociology, Creative Process, University of Virginia, Charlottesville VA [1987]

    Solo Exhibitions

    Alchemy Chroma Project Arts Laboratory, Charlottesville VA [2012]

    Theory and Ethereal School of Architecture, University of Virginia, Charlottesville VA [2010]

    Sugar Walker Fine Arts Center, Woodbury Forest, Orange VA [2006]

    New Work Hunt Gallery, Mary Baldwin College, Staunton VA [2000]

    Recent Work New Harmony Gallery of Contemporary Art, New Harmony IN [1999]

    Free Play Piedmont Virginia Community College Gallery, Charlottesville VA [1999]

    Supported in Exposure Kate Spade, New York  NY [1999]

    Eden Revived Babcock Fine Arts Center Gallery, Sweet Briar College, Sweet Briar VA [1997]

    Eden Revived Fayerweather Gallery, University of Virginia, Charlottesville VA [1996]

    Fact of Life McGuffey Art Center, Charlottesville VA [1988]

    Selected Group Invitational Exhibitions

    Manger Chroma Project Arts Laboratory, Charlottesville VA [2016]

    Summer Light Les Yeux du Monde, Charlottesville VA [2016]

    Select 2015 Les Yeux du Monde, Charlottesville VA [2015]

    Twenty Les Yeux du Monde, Charlottesville VA [2015]

    Benefit Art Auction Second Street Gallery, Charlottesville VA [2011, 2014, 2017]

    Art of the Piedmont Walker Fine Arts Center, Woodbury Forest, Orange VA [2008]

    Celebrating Women in the Arts Les Yeux du Monde, Charlottesville VA [2007]

    New Art Second Street Gallery Invitational Auction, Charlottesville, VA [2005]  

    Winter Garden Les Yeux du Monde, Charlottesville VA [2002]

    Snapshot Contemporary Museum, Baltimore  MD [2000]

    Refiguring Gallery 10, Washington DC [1992]

    Animal Revival Peninsula Fine Arts Center, Newport News VA [1992]

    New Work McGuffey Art Center, Charlottesville VA [1985]

    Ford Foundation Winners Atlantic Gallery, Brooklyn NY [1979]

    Competitive Exhibitions

    Under/Under Muse Gallery, Philadelphia PA [2000]

    34th Irene Leach Memorial Exhibition Award Winner, Chrysler Museum of Fine Arts, Norfolk VA [1998]

    Annual Exhibition 1708 Gallery, Richmond VA [1996]

    Annual Juried Exhibition Peninsula Fine Arts Museum, Newport News VA [1995]

    Select 95 Sawhill Gallery, James Madison University, Harrisonburg VA [1995]

    Paintings from the Piedmont 2nd Place, Daily Progress Annual Juried Exhibition, Charlottesville VA [1995]

    Select 93 Honorable Mention, Sawhill Gallery, James Madison University, Harrisonburg VA [1993]

    Annual Juried Exhibition G.R.A.C.E., Reston VA [1993]

    10th Annual Bay Days Charles Taylor Arts Center, Hampton VA [1992]

    Annual Juried Exhibition Merit Award, Peninsula Fine Arts Center, Newport News VA [1991]

     

    Collections

    Charlottesville City Hall, Virginia Public Art Commission

    Capitol One, Richmond  VA

    Owens Collection, New Harmony  IN

    Martha Jefferson Hospital VA

    University of Virginia, Childrens Hospital

    Selected Reviews

    “Theory in practice: Black draws on her teaching,“ by Laura Parsons, The Hook [2010]

    “Practice, Don’t Preach,“ by Emily Smith, C‘Ville [2002]

    Art Papers, Volume 1, Issue 1 [January/February 1998]

    “…Letting go of a painful past,“ Charlottesville Daily Progress [Fall 1997]

    “Painting from the Piedmont dazzle,“ Charlottesville Daily Progress [Summer 1995]

    “Simple beauty abounds in Virginia art,“ The Virginia Pilot [Summer 1990]

    “City’s new Art Policy takes form,“ Charlottesville Daily Progress [Spring 1989]

    Awards and Recognitions

    Most Valuable Faculty Member Athletic Department, University of Virginia [2007]

    Virginia Public Art Commission Charlottesville  VA [1990]

    Teacher Excellence Award Albemarle High School, Charlottesville  VA [1989, 1990]

    Pratt Studio Scholar Award  Ford Foundation Grant, Pratt Institute, Brooklyn  NY [1979]

     

  • Selected Reviews and Articles

     

    “Theory in practice: Black draws on her teaching,“ by Laura Parsons, The Hook [2010]

    “Practice, Don’t Preach,“ by Emily Smith, C‘Ville [2002]

    Art Papers, Volume 1, Issue 1 [January/February 1998]

    “…Letting go of a painful past,“ Charlottesville Daily Progress [Fall 1997]

    “Painting from the Piedmont dazzle,“ Charlottesville Daily Progress [Summer 1995]

    “Simple beauty abounds in Virginia art,“ The Virginia Pilot [Summer 1990]

    “City’s new Art Policy takes form,“ Charlottesville Daily Progress [Spring 1989]