Rebecca Klementovich Art
Rebecca has been developing a new style and color palette since 2010 after she moved to the mountains of New Hampshire from NYC. Here work is in Local museums, galleries, and collections. She has a serious commitment to the Arts.
is Co founder of the Femme Fatales of the North along with Kristen Pobatschnig
-Commissioned Ten foot Mural in Settler's Green, NH
-Curator for the Rochester Museum of Fine Art, NH
-Teaching modern art in galleries and public school around New Hampshire
-Voted women artist to watch 2017 by, New England Magazine
-TV appearance NH Chronicle March 2017, They Call themselves the Femme Fatales
- One of most written about female artists in the Valley
-Fantastic advocate for grassroots support of the arts.
-Work in Museums and Gallery
If you are do not feel the need to buy a painting but would like to support my art local art causes please donate whatever amount you wish.
The Kurt Vonnegut like Artist Statement
It is true I weigh 104lbs, less than most trees on Mount Washington, which I paint. Painting the 2,644 foot mountain in and around is an enormous process. I love the smuchy feel of paint dragging on the canvas. Painting is a lot like the tactile enjoyment of putting frosting on a hot cake-delicious.
Why paint on the top of Mount Washington, NH? The study of massive wind, loss of horizon lines by fast moving weather patterns, and the observation of generous diagonal lines that the mountain tops produce are intoxicating. Somedays when the clouds are at the same level that you are, you are literally painting in clouds, making it a rather wet painting adventure. The mountain studio floor is made of thousands of tons of granite. I must add that painting beyond the white gallery walls is essential in producing paintings that feel alive. Lately, I have realized that weather and abstract work are bedfellows due to them both erase details of leaves and the edges of landscapes.
There is a small thrill, I admit in the State motto of New Hampshire, “Live Free or Die”. To some degree it gives me permission to expand my color palette in representing the mountains, to paint beyond green, brown, and blue skies, to go deeper, to see the layers. The visual state treasure, the alpine glow on the mountain ranges shows the complexity of the purple mountain majesty which has twenty two variations of purple in it, an example that illustrates the level of color unexpressed here. It is my hope that a new language of color to represent the mountains becomes more common. The mountains deserve at least twenty colors of purple.
My co-painter Kristen Pobatschnig and I developed the photo concept of the Femme Fatales of the North to move away from women as art hobbyists. We want to show what it is like to paint on mountains, unabridged by white walls. The fatales were created to give another voice for women to step and paint with conviction and focus. The last public examples of women being photographed as painters in this region are the photos in the 19 century. The photo piece titled, “Climbers at the White Cairn on Lowe’s Path, 1897” by Guy Shorey, depicts women who finished climbing wearing long heavy skirts of the day .Many younger women in the valley get what we are doing and appreciate that we are raising the bar for painters in the area. My work has a language of its own to create a new value of landscapes with unexpected color weaved into weather under tundra conditions, with the remembrance that all art work was once modern to the eye. Our mission is to grab the highest talent and paint the highest standards of these peaks.
Vonnegut says it best about his abstract painter friend Syd Solomon,” He connects his hand and paint brush to the deeper, quieter, more mysterious parts of his mind.- and he paints pictures of what he sees, and feels down there.” I am glad Vonnegut has been besotted to the mysterious part of his mind.
More info about the Fatales below