SHARONE PUTTER

Viewer Comments

“Honored to show your beautiful artwork in the gallery.” Sarah Gormley, Gallery Owner, link: Sarah Gormley Gallery

“Loved the use of local landmarks...” Patty Sherman

“…so curious about what they discuss. Whenever I see your works I can sense the mixed feelings of kids’ curiosity when they are on the playground and hard workers’ enthusiasm.” Injoon Man, Artist

"Those who have lived in Columbus, Ohio since the mid-1990s may feel a sense of familiarity, perhaps even nostalgia, when viewing Sharone Putter's Workscapes Collection. Construction cranes, earthmovers, and the smell of asphalt have been ubiquitous in Central Ohio since that time. Many parents have stood holding their young child's hand, watching for hours as powerful machines cut and reshape the earth. The artist often uses a bird's-eye view of scenes and recurring elements that are reminiscent of mappings. The works reveal a snapshot of our changing landscape, moments of place in time. As a series, the work gestures toward historical documentation, as it evokes personal and collective memory.” Janice Glowski, Director of Museum & Galleries, Otterbein University, Westerville, OH

“It’s fun to see these in your painting. My granddaughter and I have been taking photos of these construction “sculptures” – captures a moment in the history of Columbus that is very interesting.” Noreen Warnock, Co-Founder of Local Matters, Columbus, OH

“You give such life and beauty to the construction in what you create for us! Because of you and your amazing art and creative imagination, sculpture designs come forward for me in the construction work for our city!  Your art lifts my soul as I drive Route 315 toward downtown and view all that construction going on. Thank you!” Ellen O'Shaughnessy, Moderator of Conversations and Coffee program, Priscilla R. Tyson Cultural Arts Center.

“The combination of ink prints with enamel highlights is an unusual and effective approach. I like that they help one notice and appreciate sights that would otherwise be brushed off or even avoided.” Barbara Chuko, Artist

“Congrats, wonderful work!” Carole Genshaft, Curator at Large, Columbus Museum of Art, Columbus, OH

“The artwork demands imagination and investigation from the viewer. The photogravures have the simple areas and line of Japanese prints in a most pleasing Notan pattern. The monotypes display a variety of palettes with soft hues. It is intriguing to imagine by visual excavation how the artist crafted such geometric narratives…you have created in the viewer not just curiosity, but an active desire to know, solve, unravel, engage, in short the viewers own project to grasp the images.” Jonathan Wilken, Art Collector

“I was excited to see how your prints have evolved through The Workscapes Collection -- especially the ways in which the different media and varied practices in which you have worked over time are coming together. As I mentioned at the event, I love the way that drawing feels absolutely central to this series.” Heather Mahrea Mikolaj, Artist

“Your show, concerning itself with the kind of work that people might call “real” work, the kind where you need to shower after your day versus before it, struck a chord. It’s not that it elevates construction per se. It’s not that it takes these heavy trades as a muse. Your show just seems to observe the ubiquity of the daily construction we see around us as you see it. This kind of work is indeed everywhere around us and it becomes our landscape, our future landscape, our shared not-yet-landscape.” Tod Tyslan: Writing, Design, and Other Good Ideas

“Successful marriage of all the multiple techniques to make a really dynamic composition.” Char Norman, Artist

“The artwork is about the tension between the built environment superimposed on the natural landscape.'“ Bryan Burke, Architect

“I enjoyed the amazing article on your career and work in FuseNews this month. "The Quonset Huts off Kinney road" struck a chord not only because of its beauty and compositional interest, but also because my family lived in a quonset hut for a few years right after World war II.  Housing was in short supply when the GIs returned and so the gov't repurposed the quonset huts, of which there were many.” Susan Craig, Artist