When sunlight passes through the atmosphere, the blue wavelengths are scattered more widely by the oxygen and nitrogen molecules, and more blue comes to our eyes. This effect is called Rayleigh scattering, after Lord Rayleigh and confirmed by Albert Einstein in 1911.[21][22]

The classical name for amber was electrum (ἤλεκτρον ēlektron), connected to a term for the “beaming Sun”, ἠλέκτωρ (ēlektōr). According to the myth, when Phaëton son of Helios (the Sun) was killed, his mourning sisters became poplars, and their tears became the origin of elektron, amber.

Concepción is the arbiter of life-forces as much as she is a painter of color and shape. As she pulls her brush across the surface or scratches at a line, what she is really doing is channeling the vital principle of each shape, line, swish, blotch, and pattern of textured color at the moment when it is most alive. The paintings are testaments or snapshots of the moment of their creation, where the shadows and specters—ghosts—which hover around them are allowed to come into view before passing away.

Goodeve, Thyrza Nichols. “The metaphysical fairyland of michelle concepcion”,
Exhibition Catalogue: Logical paintings. 2017.

whimsical - adjective
UK /ˈwɪm.zɪ.kəl/ US /ˈwɪm.zɪ.kəl/

unusual and strange in a way that might be funny or annoying:
Synonyms: capricious, impulsive

Michelle Concepcion's new works are riveting in many different ways. They remind us of the building blocks of life, cells with their complex inner workings. What we encounter here are inspired infinite possibilities of the various forms of life, tightly woven intricate structures which can then be seen and understood as a pictorial representation of a micro-landscape.

The paper has an extremely smooth surface which allows her to further explore working with an aqueous medium, in this case ink. By means of particular brush strokes, the diluted ink is applied onto the surface. A special technique prevents the ink from being absorbed into the paper. This, in turn, allows perfectly precise and crisp edges to form. Only within the form, do we discover wafts and drops of color gradients. It is exactly this inner life that is so vivacious and exciting. In an interplay of order and disorder we recognise structures, patterns, enclosures and branching. Colors are constrained to their respective areas, setting marks and accents, and reinforcing the impression of a micro-landscape.

The works appear light as if they were levitating, almost as if they have been detached from the surface of the paper. They are intensely fascinating when observed up close, but their impact is just as impressive from a distance. The artist guides us through variations of rhythms from sheet to sheet, from “Pearl” to “Pearl”, as she has named these precious forms.

Dr. phil. Claudia Giani-Leber

An infinite number of lines are painted onto a hard wooden flat surface – a repetition of marks one on top of the other in no systematic order. Color by color and layer by layer is applied onto the surface. There is no logic as to how each line is placed. Each element is repeated, covered up but not completely immersed into the background. They irritate; Chaos is created. Lines weave in and out of one another, they surface and disappear. Little by little a pattern begins to become apparent; the chaos starts to make sense. A balance begins to emerge while everything remains in motion.

It is all about the chemical makeup of an object. The technical term for color fading is photodegradation. There are light absorbing color bodies called chromophores that are present in dyes. The colors we see are based upon these chemical bonds and the amount of light that is absorbed in a particular wavelength.

Movement - The act of moving; change of place or posture; transference, by any means, from one situation to another; natural or appropriate motion; progress; advancement;

Michelle Concepcion’s “Visual Meditations”

From time to time in their careers, artists achieve a breakthrough, when their work takes a quantum leap onto another level entirely. This visual epiphany occurred some eight years ago when Michelle Concepción’s earlier abstractions, teeming with an energized surface of colorful biomorphic forms, took a more meditative direction with a reduced palette of two or three colors. In his review of an exhibition at ArtSpace/Virginia Miller Galleries in Coral Gables (Miami), Florida in 2005, critic José Antonio Evora of El Nuevo Herald described Concepción’s paintings as an “indecipherable enigma,” adding that they are “so enveloping that one is able to be submerged in their bubbles.” Her current abstractions, evocative of cellular forms or ancient asteroids, allow color to reemerge in the soft, dreamy shapes that appear to be floating in a bottomless abyss or deep space, visual meditations that invite the mind to wander among them. These abstractions on canvas create an illusion of surface texture with luminous backgrounds enriched by underpainting. I invite you to wander among Concepción’s visual meditations, the extraordinary visions this highly accomplished artist is sharing with us in her first one-person show at this gallery. Virginia Miller Director ArtSpace/Virginia Miller Galleries