BIOGRAPHY

 

As a lifelong resident of NYC, I have often walked through Central Park admiring its beauty. However, I gained a true fascination for landscape and foliage after my travels to Asia.  It was there, while seeing the exotic plants and landscapes that I learned to truly appreciate the shapes and forms within every flower.  Upon returning to NYC, I began exploring my favorite corners of the park with a fresh outlook.  I took black and white photos of  these special places and returned to my studio where I could express my emotional connection to them by adding light, reflection, color and most recently fabrics.

My work reflects an organic energy in my figures, landscapes and flowers .showing a romantic lyricism and ease of movement. In my recent paintings, I’ve been exploring the effect of transparencies mixed with opacity and materiality, and how it affects the space.

I have been praised for my sense of color and detail, the way I capture light and my unique expression of the everyday beauty that surrounds me.

EXHIBITIONS

Gelabert Gallery, New York, N. Y.  September, 2004
‘Inside, Outside”, Group Exhibit
“In our View”, Group Exhibit
Synagogue for the Arts, N. Y., N. Y.

Dec./Jan., 2005/2006
Green Studio, Group exhibit
139 Fulton St. N. Y., N. Y.
92nd St. Y, Group Exhibit, 2003
Gemini Studio exhibit 2017

EDUCATION

Green Studio, Long term study with Diane Green
92nd St. Y, Long term study with Carla Auruch
Art Students League
The New School

REVIEWS

REVIEW FROM GALLERY & STUDIO, NOV-DEC, 2004/2005

“Renee Baley employs a subdued, near monochromatic palette of earthy hues in her atmospheric evocations of shadow dappled landscapes. In her paintings, she evokes the hushed poetry of lushly blooming trees and foliage through her subtle, close-valued color combinations, and skillful handling of chiaroscuro.”

REVIEW FROM GALLERY & STUDIO, FEB/MAR, 2006

“Boughs and blossoms are paramount in the paintings of Renee Baley. One looks at work such as Baley’s ” Rambling”, and is moved by the contrasts she captures between the sharp forms of the slender, graceful tree limbs and the masses of pink and yellow buds, as softly amorphous as clouds or cotton candy. Yet an even more significant contrast occurs in the lower part of the composition, where Baley’s mastery of chiaroscuro presents a counterpoint to the lightness and lyricism above. Saturated with shadows, the darkness of the ground anchors the composition, lending it gravity and depth.”