Landscape As Time

Debra Ramsay

Debra Ramsay is an abstract artist working in the disciplines of painting, drawing, and installation. She maintains a full-time studio practice in New York City. Ramsay has exhibited her work internationally for the past three decades, including in Denmark, Italy, the United Kingdom, the United States, and Australia. Solo exhibitions in the United States include the Hunterdon Museum in Clinton, NJ, 2024, Brattleboro Museum in Brattleboro, VT, 2017; Odetta Gallery, Brooklyn, and 57 W 57th Arts, NY, 2016. Additional recent exhibitions include Field Guide at the Garrison Art Center, Garrison, NY (2024) Reflection Mere at Marquee Projects, Bellport, NY, Yi Gallery, Brooklyn, NY, (de)coding at the Visual Arts Center of NJ,  and Embody at the Ely Center for Contemporary Art in New Haven. She was awarded a 2018 residency at the Golden Foundation in New Berlin, NY, a 2016 residency at the Albers Foundation, a 2013 residency at the Golden Foundation in New Berlin, NY, and 2012 a fellowship at BAU Institute in Otranto, Italy. The Hofstra University Museum of Art and Brooklyn College acquired her work in 2021. In Spring 2020, Ramsay was the featured visual artist in The Cincinnati Review, and in 2017 her work was included in an exhibition and publication of the same name, Chromotopia: An Illustrated History of Colour. The book by David Coles was published by Thames and Hudson. www.debraramsay.com

#walkingasstudio #walkingasresearch #strollingtheseasons

Images courtesy of Debra Ramsay

Can you give some background to this project?

In April 2013, I initiated a project deeply intrigued by the concept of time passing. I was searching for ways to express that visually. One idea was using color change, as colors signal transition for us in various ways; The traffic light from red to green, the many colors in the sky from morning until evening. I attempt to capture the profound beauty that lies in the relentless cycling of nature. I find solace and wonder in the ever-changing seasons, and I wanted to document this through my work.

This is a visual exploration of time's passage in a woodland forest in New Berlin, New York.  I was there on a residency during the spring and noticed the distant hills ever so slightly changing color with each passing day. The glow of reddish pink, as buds formed on the bare trees with a promise to open was pulling me into the forest.  

Capturing the colors was a time-intensive project. At the trailhead, I began walking and counting my steps to space my color collection evenly along the length of the hike and to place me in nearly the same spot on the next walk. I wanted to see how the color at that spot changed from one season to the next. Walking to the beat of numbers being counted in my head, sometimes in muddy spring soil, or crunchy leaves of fall, or thigh high climbing through snow in the winter, it was always a heart stirring experience.

I captured the evolving landscape, taking a photo every 100 steps, resulting in 18 distinct images during each journey. In my studio, I used software to translate a color in each photograph into a paint formulation, yielding 18 distinct colors for that season. Each season gave a unique expression of the incredible spectrum of colors that grace the same location throughout the year.

This project is not just about documenting time; it grew to be about the thoughts and feelings that time evokes—the wonder of nature's cycles, and the vast range of colors that unfold over the course of a year.  The colors became a map, that particular yellow of the daffodils blooming near the creek. The creek that was rushing with water from melting snow in the spring making loud whooshes of sound, which nearly dried up in the summer, gathered some bulk in the fall and froze solid again in the winter.

Each artwork encapsulates a specific landscape's intrinsic hues.  Each season's interpretation stands alone, and when amalgamated, they produce a holistic representation of the entire annual cycle. This project transposes a particular landscape into an abstract construct. As I immerse myself in this work, I'm continually reminded of Josef Albers' wisdom: "There is a profound harmony in the immeasurable spectrum of color."

Walking gave this project its foundation upon which all the colors (72 in all) had a structure and place to be. The walking route was roughly one mile long with space measured by each step so that I could place myself at nearly the exact same location on each part of the walk. For example, location 10 would be the same in the spring, summer, fall and winter, and would allow me to compare the 4 different colors I collected at the location over the year. The walking was intentional, mindful to maintain a steady gate even when slipping on wet mud or climbing through deep snow. It was the scaffolding the project needed to keep order, to compare color change in a systematic way.

What is Walking to this work?

What memorable conversations have been had around this work? 

The work has mostly been experienced in an exhibition setting, either in solo shows or a two person exhibition where the focus was on art made using a system. Remarks have ranged from how did you think of doing this to comments about being calmed by the colors. Many speak of their surprise at the range of the color I found. One painting was acquired by friends of the man who developed the color mixing software I use as a way to honor his memory after his untimely passing.

Images courtesy of Debra Ramsay