Tracey Sylvester Harris’s Paintings Co-Star in New Indie Art Flick
FOR IMMEDIATE RELEASE
July 29 – The Face of Love, a romantic drama set for a September 20th release date by IFC Films, stars Annette Bening, Ed Harris, Robin Williams and a surprising costar -30 paintings by Tracey Sylvester Harris (no relation to Ed Harris). Director Arie Posin uses the paintings to illustrate the transformative power of love after devastating loss. When divorced, artist turned art teacher Tom Young (Ed Harris) meets and falls for a widow (Annette Bening) while teaching a class, he again picks up his brushes and begins painting amazing, large format figure paintings, created in real life by California artist Tracey Sylvester Harris.
After receiving the call that her work was chosen for the movie and recovering from the initial shock, T. S. Harris says it made perfect sense to her. “I always pictured my alter ego in the studio as a serious bad ass. Ed Harris is brilliant casting in my mind!” she replied. Tom Denolf, the co-producer whose daunting task it was to find the artwork to match the character of Tom Young (Ed Harris), scoured hundreds of LA galleries in search of work that would meet the script criteria, namely that the paintings be figurative, large, painterly, reminiscent of Eric Fischl and Gerhard Richter, but with a Southern California vibe. The artwork of T.S. Harris fit the bill. Hundreds of galleries, dozens of meetings, and three weeks later, T. S. Harris got the voice mail she still has on her machine, “You’re it! We’re looking forward to working with you!”
In her paintings, T.S. Harris presents a dazzling vision of California that merges the past with the present. In an ironic twist, two recurring themes are her love of water and her love of Hollywood. The series of paintings entitled Lost Holiday are inspired by found, black and white photos from the forties and fifties. The paintings transform long forgotten memories into vibrant light and color. Although bright, the paintings are bittersweet in their depictions of fleeting moments of summer captured almost a lifetime ago. In the Noir series, she experiments with imagery from films made in that same time period. These paintings depict women mostly as torsos, or cropped stills. Suspended in time, they have been captured smoking, waking, sleeping, and sitting in contemplation. With the context of their actions removed, the women become mysterious. Dressed in swimsuits or lingerie, they are alluring not for their bodies, but the secrets they hold. Looking closely at the paintings however, reveals her true theme- how precious and fleeting our moments in the sun are.