Block title

Work Samples

Jasper

Jasper
2016 | Latex paint and gold leaf | 144" x 96" x 96" | Site-specific installation at the Baltimore Museum of Art as part of the 2016 Sondheim Prize finalist exhibition. The intense fields of color that appear to glow from within the gold-leafed walls are reflections from fluorescent paint covering the hidden sides of the structure.

Midnight Oil

Midnight Oil
2016 | Latex paint and gold leaf | 120" x 96" x 96" | Large site-specific installation I constructed as part of the GOOD AND PLENTY exhibition at School 33 Art Center. The intense fields of color that appear to glow from within the gold-leafed walls are reflections from fluorescent paint covering the hidden sides of the structure.

Carbon

Carbon
2016 | Latex paint on birch | 12" x 17" x 2"

Orchid Artifact

Orchid Artifact
2015 | Latex paint | 7" x 5" x 2"

Share:

About Darcie

Baltimore City

Darcie Book (Baltimore, MD) is a painter and installation artist whose work explores paint as object and architecture through the use of innovative processes centered on the unique properties of latex paint. She was selected as a finalist for the 2016 Sondheim Prize with a corresponding exhibition at the Baltimore Museum of Art, and was featured in GOOD AND PLENTY, curated by Cynthia Connelly at School 33 Art Center in 2016. Book attended the Vermont Studio Center Artist Residency in April 2015, and... more

Painting | Larger works

My work pushes the boundaries and possibilities of painting by exploring the realms between the two- and three-dimensional. The works keep intact the vitality that wet paint possesses as raw material. Flaps of paint that still look wet due to extremely glossy surfaces appear to defy gravity hanging up instead of down. Paint protrudes off surfaces, appearing to ooze or flow as it makes its departure from the two-dimensional picture plane.

Painting | Folded paint with substrates

My process usually involves pouring latex paint onto plastic sheeting. I work with a high level of precision in my pouring techniques while simultaneously being open to the unexpected. After the pooled paint dries, I peel it off the plastic sheeting, and use it as a skin or fabric-like sculptural material. This is probably the most satisfying part of my process - peeling then sculpting this material I've created, a material that somehow always feels newly discovered and fresh.

  • Keroessa

    Keroessa
    2016 | Latex paint on birch | 13" x 20" x 2"
  • Keroessa

    Keroessa
    Detail
  • Io

    Io
    2016 | Latex paint on birch | 15" x 16.5" x 1.5"
  • Io

    Io
    Detail
  • Moth

    Moth
    2016 | Latex paint on birch | 20" x 21" x 4"
  • Moth

    Moth
    Detail
  • Two Rivers

    Two Rivers
    2015 | Latex paint on birch | 11" x 4" x 1.5"
  • Two Rivers

    Two Rivers
    Detail
  • Carbon

    Carbon
    2016 | Latex paint on birch | 12" x 17" x 2"
  • Carbon

    Carbon
    2016 | Latex paint on birch | 12" x 17" x 2"

Painting | Poured paint with substrates

Though my work embodies a sense of the otherworldly, I am interested in how the heightened physicality of the paint may generate corporeal resonance, and elicit desire or longing.

Painting | Smaller works

Every painting in this grouping is constructed entirely of latex paint. The structures and forms are created solely by the paint, without use of substrates.

I work to push the physicality of the paint in an attempt to start a conversation with the viewer about their own sense of being. My goal is to create hyperphysical objects that encourage the viewer's awareness of their own physical presence and a feeling of being grounded/rooted in the moment.

Installations

Within the past few years, my paintings have become increasingly sculptural and have naturally evolved into the realm of installation work. My installations are inspired in part by Mark Rothko’s color field paintings, James Turrell’s technique of painting with light, and Anne Truitt’s column-like sculptures. In my large-scale installation work like Jasper and Midnight Oil, there is a deliberate intersection between light that exists as an ethereal and fugitive medium, and the materially tethered nature of paint. The spectral color fields emanating from the metal leaf shift as the viewer/participant moves around the space. This reflected light and the hyperphysical nature of the paint itself work together to create an otherworldly space. The components work in unison to form a painting executed in space in which the viewer becomes a participant.

  • Jasper

    Jasper
    2016 | Latex paint and gold leaf | 144" x 96" x 96" | All fabric-like forms draped off of the structure and flowing onto the floor are made exclusively of latex paint. (Image courtesy of the Baltimore Museum of Art).
  • Jasper

    Jasper
    2016 | Latex paint and gold leaf | 144" x 96" x 96" | Site-specific installation at the Baltimore Museum of Art as part of the 2016 Sondheim Prize finalist exhibition. The intense fields of color that appear to glow from within the gold-leafed walls are reflections from fluorescent paint covering the hidden sides of the structure.
  • Jasper

    Jasper
    Detail
  • Sondheim Exhibition

    Sondheim Exhibition
    Partial view of my exhibition installation at the Baltimore Museum of Art for the 2016 Sondheim Prize finalist exhibition.
  • Malachite

    Malachite
    2016 | Latex paint| 35" x 12" x 12" | This installation is situated in a corner and constructed 100% of latex paint.
  • Malachite

    Malachite
    Detail
  • Malachite

    Malachite
    2016 | Latex paint| 35" x 12" x 12" | This is a view of the underside of Malachite. I like to reward viewers for activating their bodies when they explore different vantage points while looking at my work.
  • Midnight Oil

    Midnight Oil
    2016 | Latex paint and gold leaf | 120" x 96" x 96" | Large site-specific installation I constructed as part of the GOOD AND PLENTY exhibition at School 33 Art Center. The intense fields of color that appear to glow from within the gold-leafed walls are reflections from fluorescent paint covering the hidden sides of the structure.
  • Midnight Oil

    Midnight Oil
    Detail
  • Borderlands

    Borderlands
    2013 | Latex paint and gold leaf | 72" x 60" x 60" | This installation piece is a precursor to my recent installation works Jasper and Midnight Oil. It is shown here installed at the Hamilton Gallery.

Installation Models | To scale: 3.5 mm = 1 ft

I view the models not only as sketches for full scale installations, but also as standalone artworks. There's a subtle magic in the blurry border between small & large; between physical & imagined. Some of these installation models have become life-sized installations while others have not.

The Four Corners installation model included here represents a project soon to be in production. Once realized, the installation will invite viewers to walk into a painting executed in space and to become participants. Each of a room's four corners will house a hulking, geometric, column-like structure. The four sculptural paint compositions enrobing the structures will employ a unique method of construction, color palette, and aesthetic theme. While I continue work on smaller scale paintings, I am simultaneously fleshing out plans for this room-sized painting and working to secure funding for the project.

Connect with Darcie

Darcie's Curated Collection

This artist has not yet created a curated collection.