About Nechama
Baltimore City
Born in Lake Wales, Florida, Nechama Topper lived in Hollywood, Florida; Atlanta, Georgia; Birmingham, Alabama; and she currently lives and works in Baltimore City. She attended Florida State University, earned her BFA from the University of Alabama at Birmingham, and her MA from Towson University. She worked at the Aside Gallery Studios in the Station North Arts District and now works in a private studio in northwest Baltimore City.
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Home Sweet Home, 2022
My most recent work considers the changing connotations of the word "home" over a lifetime. These paintings and drawings also reflect the sense of loss connected with aging and mortality.
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Heart Stringsoil on canvas, 30x40, 2021
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When You Leave I Shall Grievegraphite on paper, 8.5x11, 2022
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Living In The Cukoo Cloudoil on canvas, 36x40, 2022
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Better Homes and Gardens in the Skyoil on canvas, 30x36, 2022
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Home Is Where the Heart Breakspastel on paper, 24x18, 2022
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A House Is Not A Homeoil on canvas, 24x18, 2022
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Home Sweet Homeacrylic on canvas, 14x22, 2022
Nechama Topper - Paintings 2020-2021
Alll these paintings focus on color and color relationships as well as revealing stories about my inner life.
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Holey Hearts Fan.jpegacrylic on canvas, 21x20, 2021
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Popsicle Parade.jpegacrylic on canvas, 12x24, 2021
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Depending On Your Perspective.jpgacrylic on canvas, 24x18, 2021
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Popsicles.jpegacrylic on canvas, 24x18, 2021
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The bridge was orange and they skiied barefoot the summer of 64oil on canvas, 30x40, 2021
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Artifactsoil on canvas, 30x48, 2021
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Bridges.JPEGoil on canvas, 18x24, 2021
Nechama Topper - Works on Paper 2020-2021
This collection contains works in various media on paper.
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Candy Stripers.jpegacrylic on watercolor paper, 24x18, 2021
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Fudgesicles.jpgpastel on paper, 18x18, 2021
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I don't know whether to laugh or scream..JPEGoil on watercolor paper, 9x12, 2021
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Swimming In Different Seas.jpgoil on watercolor paper, 24x18, 2021
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Two Lane Blacktop.jpgoil on watercolor paper, 24x18, 2021
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Moon Lodges.jpgoil on watercolor paper, 24x18, 2021
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IMG_0682.JPEGmelted colored wax and gold marker on watercolor paper, 12x9, 2021
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IMG_0744.JPEGcolored pencil on paper, 8x4, 2021
Nechama Topper - Paintings 2011 - 2020
Paintings 2011 - 2020
The idea of art as a division of the two-dimensional surface into areas of shape and color rather than the representation of a three-dimensional world in two-dimensions, along with an acquired personal iconography, has become the focus of my paintings since around 1988. The often brightly-colored paintings began to reference the hard-edged, geometric look of the artwork of the 1950s and 1960s, while the iconography continued the feminist story that began in my earlier paintings and drawings. I do return to illusionism periodically because I enjoy drawing, and I enjoy drawing with color, especially landscapes based on my travels around the US. These drawings and paintings often produce images that enter my iconic lexicon and appear in my graphic-style work.
The idea of art as a division of the two-dimensional surface into areas of shape and color rather than the representation of a three-dimensional world in two-dimensions, along with an acquired personal iconography, has become the focus of my paintings since around 1988. The often brightly-colored paintings began to reference the hard-edged, geometric look of the artwork of the 1950s and 1960s, while the iconography continued the feminist story that began in my earlier paintings and drawings. I do return to illusionism periodically because I enjoy drawing, and I enjoy drawing with color, especially landscapes based on my travels around the US. These drawings and paintings often produce images that enter my iconic lexicon and appear in my graphic-style work.
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Not the Grandest TetonNot the Grandest Teton, 2016, oil on canvas, 20x30
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Umbagog Lake NHUmbagog Lake NH, 2019, oil on canvas, 20x30
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Antelope Island UTAntelope Island UT, 2019, oil on canvas, 24x36
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Second Generation FragmentsSecond Generation Fragments, 2019, oil on canvas, 12x18 (sold)
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Five Feet of Heaven and a Marlboro ManFive Feet of Heaven and a Marlboro Man, 2019, acrylic on canvas, 12x24
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Wedding MarchWedding March, 2019, acrylic on canvas, 36x24
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It's CongenitalIt's Congenital, 2020, flashe on canvas, 18x24
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Bird FanBird Fan, 2020, acrylic on canvas, 24×30
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Hand FanHand Fan, 2020, acrylic on canvas, 48×60
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Fall FanFall Fan, 2020, acrylic on canvas, 18x24 Third painting of the "Fan" series using personal iconography against a fan-shaped colored ground.
Nechama Topper - Paintings 1988 - 2010
Paintings 1988 - 2010
One day a fellow entered my studio and asked what I was doing; my joking response was, "Dividing the canvas into areas of shape and color." In time, however, the idea of art as a division of the two-dimensional surface into areas of shape and color rather than the representation of a three-dimensional world in two-dimensions, along with an acquired personal iconography, became the focus of my paintings for the next twenty years. The often brightly-colored paintings began to reference the hard-edged, geometric look of the artwork of the 1950s and 1960s, while the iconography continued the feminist story that began in my earlier paintings and drawings.
One day a fellow entered my studio and asked what I was doing; my joking response was, "Dividing the canvas into areas of shape and color." In time, however, the idea of art as a division of the two-dimensional surface into areas of shape and color rather than the representation of a three-dimensional world in two-dimensions, along with an acquired personal iconography, became the focus of my paintings for the next twenty years. The often brightly-colored paintings began to reference the hard-edged, geometric look of the artwork of the 1950s and 1960s, while the iconography continued the feminist story that began in my earlier paintings and drawings.
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That's Why They Call It The Blues.jpgThat's Why They Call It The Blues, 1989, oil on canvas, 35.5x72 (sold)
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The Head and Hands are the Most Important Part of Any Portrait.JPGThe Head and Hands are the Most Important Part of Any Portrait, 1988, oil on canvas, 24x72 (sold)
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Flowers On Parade.jpgFlowers On Parade, 1990, oil on canvas, 24x30
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Jacks.jpgJacks, 1995, oil on canvas, 14x18
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Jacks Is A Game For Little Girls.jpgJacks Is A Game For Little Girls, 1995, oil on canvas, 20x22
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Growing In The Dark.jpgGrowing In The Dark, 1995, oil on canvas, 14x18
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Reinforcements.jpgReinforcements, 1995, oil on canvas, 28x30
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NightScape.jpgNightScape, 2009, oil on canvas, 24x30
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The Snow In Ireland.JPGThe Snow In Ireland, 30x30, oil on canvas, 2010
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Juggling Behind the Fence.jpgoil on canvas, 30x30, 2010
Nechama Topper - Paintings 1985 - 1987
Paintings 1985 - 1987
These paintings form the underpinnings of the iconography that has repeated over the years. After this series of paintings, the imagery became flat areas of shape and color, devolving into a hard-edged, graphic/geometric style.
These paintings form the underpinnings of the iconography that has repeated over the years. After this series of paintings, the imagery became flat areas of shape and color, devolving into a hard-edged, graphic/geometric style.
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Body Parts.JPGBody Parts, 1985, oil on canvas, 24x36 (sold)
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Marlboro Man I 30x30.jpgMarlboro Man I, 1985, oil on canvas, 30x30
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Marlboro Man II 24x36.jpgMarlboro Man II, 1985, oil on canvas, 24x36
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Radio City 23x40.jpgRadio City, 1985, oil on canvas, 23x40
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Tellervision 30x36.jpgTellervision, 1986, oil on canvas, 30x36
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Knocking on Heaven's Gate 28x32.jpgKnocking on Heaven's Gate, 1986, oil on canvas, 28x32
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Window Dressing 28x32.jpgWindow Dressing, 1986, oil on canvas, 28x32
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Fragments.jpgFragments, 1986, oil on canvas, 12x18
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Clouds of Glory - Flower of My Youth 36x36.jpgClouds of Glory, Flower of My Youth, 1986, oil on canvas, 36x36
Nechama Topper - Works on Paper 2008-2020
Works on Paper 2008 - 2020
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Twisted SistersTwisted Sisters, 2020, pastel on paper, 18×24
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Dauphin Island ALDauphin Island AL, 2020, pastel on paper, 24x18 Memories of our travels through the southeastern US.
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Three White TreesThree White Trees, 2020, pastel on paper, 18×24
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One White Tree Mississippi River RoadOne White Tree Mississippi River Road, 2020, pastel on paper, 24x18 A memory from our travels through the southeastern US.
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Next Generation FragmentsNext Generation Fragments, 2019, pastel on paper, 18x24
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PlantPlant, 2019, graphite on paper, 24x18
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BridgesBridges, 2008, graphite on paper, 18x24 The patterns formed by the architectural structure in the covered bridges found all over the New England states inspired this drawing.
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City Above and BelowCity Above and Below, 2008, graphite on paper, 15x22
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Weighed Down by MemoriesWeighed Down By Memories, 2008, graphite on paper, 22x30 (sold)
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Mt. Rushmore With My DogMt. Rushmore With My Dog, 2008, graphite and wax crayon on paper, 8x10 (sold)
Works on Paper 1986
These early works include figure studies showing my love of drawing the human form, and prints which form the beginings of my iconographic imagery.
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Fences_1.jpgFences, 1986, collograph, 24x18 (sold)
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Separations II-sold_1.jpgSeparations II, 1986, etching on paper, 12×9 (sold)
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A Bigger Bite.jpgA Bigger Bite, 1986, etching on paper, 14×18
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Male Figure 1-sold.jpgMale Figure, 1986, black and white conte on paper, 18×24 (sold)
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Male Figure 2.jpgMale Figure, 1986, charcoal on paper, 18×24
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The Rock - With Fruit-sold.jpgFigure with Fruit Basket, 1986, colored conte on paper, 18×24 (sold)
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The Rock 2.jpgFigure Study, 1986, graphite on paper, 24×36 (sold)
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The Rock 3.jpgFigure Study, 1986, red and black conte on paper, 24×36
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The Rock 4.jpgFigure Study, 1986, black and white conte on paper, 24×36 (sold)
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The Rock.jpgFigure Study, 1986, ink wash on paper, 24×36