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In Josephine Haden’s abstractions on wood, soft colors and the grain of the wood itself create synergistic compositions vibrant with life. They powerfully suggest nature—woods in spring or fall, the Everglades at daybreak, sunset reflected in a turbulent seascape—and like many of her other works, their interpretation is defined by the viewer’s experiences.
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In her acrylic-on-wood paintings, Josephine Haden’s soft, dreamy colors are punctuated with iconic images and small vignettes that often are scattered about the picture plane that contort our perceptions of scale and distance. “Each consists of iconic images and small vignettes that show various stages of a woman's life from childhood through old age,” notes Ferdinand Protzman, writing in The Washington Post, who adds: “They aren’t warm, fuzzy paintings. There’s an ominous overtone.”
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Josephine Haden’s figurative works on canvas deal with the contradictions of celebrity and privacy, reminding us of our existential singularity. Sometimes they suggest escape, from whatever it is that we need to be free from. Like poetry and music, they resonate with a particular meaning that varies from person to person, thus their statement becomes universal.
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Josephine Haden’s landscapes “take us over the rainbow to a land of large, colorful, rapturous abstractions filled with references to rolling hills and mountain peaks. Simple hieroglyphic strokes of pure pigment laid over the landscape contribute an animated splintering effect, evoking the course of wind and sun,” stated Alice Thorson in a Washington Times review. As described by the noted critic Donald Kuspit, “This is a paradise lost of some place not fully available.”
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Josephine Haden “constructs imaginary landscapes from countless slender brush strokes of pure color…Her mysterious thickets and bottomless pools of water …recall the archetypal forests and magical wishing wells embedded deep within our psyches,” according to Florence Gilbard in the catalog of the 21st International Painting Exhibition, Grimaldi Chateau-Museum.
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