SELECTED QUOTES
"The carefully controlled, polished surfaces of Sand T Kalloch’s mixed media work beckon us into an amorphous space of color, lines and light. She is concerned with repetition and geometric, reductive abstraction. Tension is introduced as she plays the line between space and surface, energy and restfulness. Her sensuous colors, thick or thin lines and illusionary droplets confuse the viewers’ perspective. She likens her deliberate process to composing music, setting up resonances. The work’s dense glossy surfaces, rather than stopping us, invite close study, confusing us with the "space" that is portrayed."
- - Bridget Lynch, Interim Director Trustman Art Gallery, Department of Art and Music, Simmons College, Boston, MA, June 2013
"8 VISIONS :: SAND T KALLOCH - The words fresh, pure, clean luminous, pristine, sophisticated, modern, disciplined and colorful all rush into my head upon viweing this work. Viewing a single piece is pleasing, but seeing works in a series in much more engaging, enveloping and exciting. The artist seems to attain her goal ("... to utilize the basic elements of visual language... to create maximum visual impact.") in every single piece."
- - Mim Brooks Fawcett, Executive Director, Attleboro Arts Museum, Attleboro, MA, August, 2012.
"New works by SAND T are mysterious in nature. They speak of layers; layers of intimacy, layers of the subconscious; veils lifted and put into place concurrently. There is a privacy in the surface, yet also a beckoning. The artist invites the viewer to explore his/her own inner world; the surface creates multiple dimensions of past, present and future. This energetic surface reminds one of one's place in the present, evaporating the reverie of exploration. "
- - Marjorie Kaye, Director, Caladan Gallery, Cambridge, MA, May 2011
"... I love the minimal nature of the work- its simplicity. They feel jewel-like and optimistic to me. The colors are so vibrant, and the different patterns of what look like water beads give them a very modern and clean edge. The term ‘less is more' is an excellent characterization of Sand T's non-objective work. They are solid, yet elegant; formalistic, yet spiritual."
- - Kim Tenenbaum, Urban Elements, Salem, MA, January 2010.
"Sand T employs an array of bold colors with extremely fine graphite lines and smooth resin layers to create a sophisticated and ultra minimal aesthetic in her art. Her interplay of these lines, layers of resin, and intentionally placed resin droplets creates a wonderful three-dimensional effect that is very enticing to the eye. Her precision and control of a highly difficult medium brings to the viewer her sensibilities in the exploration of the concepts of time and the meditative energies of controlled motion in non-objective imagery."
- - Jennifer Kostuik, Director, Jennifer Kostuik Gallery, Vancouver, BC, Canada, January 2011
"The saturation of color is the purest form of visual joy in works by Solo Exhibition Award Winner, Sand T. One's eyes fill with the essence and vibrating energy of a singular field of color. The subtle drawing and smooth surface push the color forward into the periphery of initial contact. The colors the artist has chosen are those that can be immediately connected to the more energetic, positive emotions. But in this form, she could have chosen blacks, whites, and grays and hinted at it; one edge of line, one shadow, and another emotion is certain to emerge - even with the joyous color. The color remains what affects the instinctual reaction, but working behind this is the composition; together they guide the viewer to an aspect of the piece itself and the inner life of the individual experience."
- - Marjorie Kaye, Director, CALADAN GALLERY, Cambridge, MA, January 2011
"Although Sand T’s paintings appear to utilize a simple language of dots, line, and color, they transcend their simplicity through their illusionistic surface depth and reflective nature. For some, the patterns might allude to the moments when our interior bodily rhythms are acknowledged and heard. The fluctuated spacing between lines and between pooled dots remind one of breathing patterns, blood pumping, and a heartbeat. This makes the most sense when one has been especially hyper-aware of one's own body. During meditation or yoga, the breath becomes all-encompassing, when one is operating on pure fear or adrenaline; we feel our blood pumping through our body. Sand T’s paintings slow us down so that we can listen to the inner rhythms of ourselves and respond to the image in front of us."
- - Candice Smith Corby, director of the Cushing-Martin Gallery at Stonehill College in Easton, MA, October 2010
"Sand T’s work feels quiet and still while at the same time is full of life and movement. The surfaces are pristine and glossy yet each piece is so textural and luminous. The layers of graphite and the bubbles (resin droplets) add different layers and levels of complexity to each piece. The work invokes investigation from different views and angles. It makes your senses react, you wonder if you hear the air bubbles moving, breathing. Sand’s work appears grid-like and systematic, yet each work is so individual. As clean and sharp as the paintings appear there is a very emotional quality to them, as one can literally see their reflection in the work and also lose oneself in it."
- - Susie Nielsen, director of farm PROJECT SPACE + GALLERY in Wellfleet, MA. June 2010
"... Minimalism, in its stillness, transcends the mere mimetic, stripping away the irrelevant, revealing the fundamental and it is these very qualities which are inherent in Sand T’s works, and may go some way into describing the otherwise indescribable qualities of her transcendental, seemingly tranquil, art..."
".. A mind oft used to indulgent fantasies might imagine strains of Miles Davis’ cool jazz, John Cage’s Dream (1948) or Phillip Glass’s Opening (from Glassworks 1981) frozen at a potentially mind-blowing ecstatic moment, solidified music, entrapped in epoxy resin, forever blowing, notes gelling into reality, reincarnated into resin...."
- - Excerpts taken from an article “Meditative Minimalist?”, Correspondences, Kuala Lumpur, Malaysia April 2010
"... Her lines dance forward and backward, through the layers of epoxy, intermingling, relating with each other, like the people who are drawn to Sand for her contagious positive energy. Surface drips magnify and sway these lines, calling on them to come to life, to move, as Sand calls on those around her to move, to come to life and amplify what is...."
- - An excerpt taken from an article written by Jocelyn Almy Testa, gallerist, artist and writer, is the owner of TLGUTS in Lynn, MA. February 2010
" ...You might want to tie your hands behind your back when you look at Sand T's new paintings. The Malden artist is a big tease at "Touch Me Not,"her new solo exhibit of glistening, shining surfaces that will tempt you to reach out and touch to see if they're really wet. The show's theme is simplicity, repetition, and structure. And if you're worried that you'll succumb to temptation, find the one painting that you can touch titled "Please Do Touch."
- - June Wuff, Boston Globe, MA, June 2009
"... FROZEN in motion and immortalised in time, glistening droplets come to life and dance under lights. But despite their polished brilliance, their beginnings are humble...."
- - An excerpt taken from an article written by RouWen Lin, The STAR Magazine, Kuala Lumpur, Malaysia, March 2009
"...Though a sense of cleanliness and structure dominate the works there is a luminosity and tactile quality about the thick hard resin drops that contributes a juicy texture to the pieces. Though the works rely heavily on geometric forms and vaguely architectural elements, they avoid projecting any kind of rigidity. In fact, the epoxy resin layers have a hard candy-like quality to them, appearing as though they may melt in the viewer’s hands, or dribble down the wall come summertime...." - - An excerpt from an article written by Caroline Scannell, Collegian UMass Amherst, MA, March 2009
"Amazing in every sense! Its hard for me to find the words (as clichéd as it sounds). Best way for me to describe it is to call it a sensory experience. I don't know why, but I have a strange attraction to it, the visual aesthetic is strangely magnetic. It comes at you with its sensuous shapes but at the same time draws you in creating a distorted sense of space...from such a small space! It is one of those curious pieces that holds within its grasp the potential to become an iconic piece of art. That, or a perfect opportunity to squeeze some kind of metaphysical meaning or interpretation for those inclined towards the esoteric. Last century, we had Warhol's oddball Campbell Soup to lift an everyday object into an iconic representative 'zeitgeist' of the age, perhaps in this new century, we have a new contender..." - - Alvin Yang, WA, Australia, March 2008
"... Luminous dried resin drops build patterns that look like individual trapped drops of water. Random irregularities can make the drops look like cellular activity or even malfunctioning of motherboard, in the mostly rectangular grids. Careful timelines filled with playful surprises, they are exciting viewing." - - An excerpt taken from an article written by Roanna Forman, artscope magazine, Boston, MA, Jan/Feb 2008 issue
"Sand’s latest work (the resin/plexi series) must be seen in person to be fully appreciated. Highly polished surfaces after a rain shower is the best way I can describe the superficial treatments of these pieces. Sand has manufactured two varieties of these “water-beaded” panels: deep black and clear-translucent. The black versions are magnetic and serious in their depth while the clear-translucent ones possess an optimistic jewel-like character. It is hard to say which style is more successful; they alternate in importance. The obsidian density rules one day, the sparkling crystal the next. Regardless of this power struggle, they both offer the viewer fascinating visual qualities." - - W.V. Kalloch, Malden, MA, December 2007
