We use the term “series” to indicate a series of paintings where the artist varies a single scene to show different perspectives, as Claude Monet did with his Haystacks series. Pamina Liebert-Mahrenholz uses changes in light, pattern, colour, and viewpoint to demonstrate artistic flexibility. Each portrayal maintains the same core subject but presents it in a different light, influencing how it is perceived. The progression of these works reflects an evolution of thought. This unfolding narrative is a study in form and explores the artist’s relationship with a single theme. From the energetic to the abstract, these variations highlight Pamina’s adaptability and encourage viewers to see beyond the surface.
Pamina employed this approach in at least a dozen scenes. One example is her series, “Kneeling Abstract” 1, 2 and 3:
Upon seeing the first image in the series, the viewer forms an initial interpretation which becomes richer upon seeing the second image and may even change dramatically. Knowing the title chosen by the artist can add another layer of interpretation to the artwork. The title “Kneeling Abstract” focuses on an action – kneeling – traditionally associated with humility, subservience, or reverence. The intense colours and dynamic shapes could be seen as different emotional or spiritual states experienced in the act of kneeling. The fiery reds and oranges might represent passion, or intensity of prayer, while the cooler, fragmented shapes could suggest a more contemplative or fractured state of being.
The title does not confine the artworks to a single narrative but instead opens a more in-depth exploration of the theme. Each painting becomes a meditation on the act of kneeling, abstracted into forms and colours that invite the viewer to explore the depths of the gesture beyond its physicality.
“There are swans, for instance, with an edge of anguish. They might be people in pain, and there are dozens that may be on the point of a metallic form of metamorphosis. In Chimères II the sculptural concept has a ghostly element; a suggestion of fear and the need to seek refuge from some unpalatable reality.”
Linda Talbot, art critic at The Hampstead and Highgate Express, 1981
”Immensely talented and versatile, her proclivity to present a subject in series is an indication of the artist’s fascination with perception and the multitude of ways that the world might be seen and understood – Claude Monet’s ‘Haystacks’ series comes to mind.”
Sara Angel, PhD, Founder and Executive Director of the Art Canada Institute, 2023
