Resume / Bio / Statement
Donald Kuspit's essay, "Creative Flux in Sandra Lerner's paintings", states that "Lerner is a romantic visionary - her paintings seem rooted in the grand tradition of romantic landscape paintings, with the landscape reduced to its abstract fundamentals, streamlined to its expressive elements."
She has created the sets for performances, such as "Land", by Eiko and Koma, the acclaimed Japanese avant garden modern dancers and choreographers.
Sandra Lerner is represented by June Kelly Gallery in New York City and Ober Gallery in Kent, Connecticut.
My exploration of the universe—its ever-changing patterns, surging waves, and horizontal vistas—gave rise to and parallels my own creative development. My art is a spiritual, psychological, and physical journey that begins with a simple calligraphic line that takes one to a purer realm of being, with the viewer completing the journey and the narrative. By interweaving abstract forms and rhythms, calligraphy and texture, architectonic forms and sacred geometric spaces, I investigate the coevolution of science and spirituality in our universe, which is in constant flux—ever expanding, accelerating, annihilating, and recreating.
My early global travels exposed me to a range of visual inspiration, from cave paintings to archaeological sites to wall murals. My paintings harken to ancient manuscripts with elaborate calligraphic elements positioned on the surface tracing the secrets of old inscriptions that have survived the ravages of time. Memories of manuscripts are integrated with those of cave paintings or temple decorations. My calligraphy establishes random transcriptions, enlivening the canvas and creating an ethereal realm within which its drama unfolds. Architectonic structure allows repetition with variation, sequence within progression, and rectilinearity within amorphousness.
My artistic production can be understood as an unfolding visual journey expressing my continual encounter and dialogue with models of wholeness and the nature of reality. By drawing upon this vast Eastern tradition, a long and significant tradition in postwar American art and Abstract Expressionism, and correlating my own aesthetic syncretism of East and West, I strive to reveal, as if through a door or gate, the metaphysical relationships of our universe with the spatial scope of painting's gestural and calligraphic impetus. What began with my Tao series has continually evolved through my career, as I strive to develop a visualization of the echoes and resonances of the universe.