Adele Rowland OP        
Adele Rowland is a Dominican Sister of San Rafael. Adele studied with Ansel Adams and pioneered photomontage using 35 mm slides in a particular focus. Today what is done on computer was done with painstaking precision to get just the right image.

Adele Rowland OP produces stunningly realized images that employ a delicate counter-pointing quality. Her artwork strives to present a living, coherent whole based on the genuine relationship between juxtaposed elements. Speaking of her work, Adele states that her art makes "surprising visual statements about the complex nature of reality, develop in the viewer fresh perceptions, and not infrequently, reawaken an awareness of the Divine." Her works have been show in Paris, Oslo, and Singapore just to name a few places.

She is fondly called the "Grandmother" of DIA for her listening presence and advice.to the artists at every gathering she attended. She even passed up going to the opening of her show in the Oslo hall when the Nobel prizes are awarded to attend DIA such has been her love for the Dominican artists. See her in video about DIA.

Adele was the first recipient of the Fra Angelico Award in MSJ Gathering 1998. Her Fra Angelico award was in marble (unlike later awards) by Phyllis Mrozinski OP. 

Adele was embraced by God in death May 7,2015 at 99 years old



a thing of joy
blue guilin
counterpoint
for dappled things
omega
Arizona Butte
Birds
Floating Cypress
Pueblo Spirit
Henry
Mission Bells
Vortex
Dominican Institute for the Arts
Dominican Institute for the Arts
www.diartsop.org
www.diartsop.org

Searching for Truth and Beauty. Preaching through the Transforming Power of the Arts
Searching for Truth and Beauty. Preaching through the Transforming Power of the Arts
Click on image to see larger picture
An Artist's Statement: "Painting with Film"

The goal of my counterpoint images is to evoke for the viewer some of the mystery and joy, variety and irony of life. As our enjoyment of poetry is enhanced as we discern its
multiple levels of meanings, so with visual images. Beyond our subconscious aesthetic appreciation, we are drawn to that which challenges our contemplative capability.

In my art, this challenge evolves from a discriminating "fracturing" of the primary image.
The integrity of the final montage ensues from the genuine relationship between the two components, establishing the completed image as a living, coherent whole.

This process is a kind of "painting" with film, and, in this regard, what inscape was for Gerard Manley Hopkins, and epiphany for James Joyce, my montaging is for me.
Ultimately, these Counterpoint Images make surprising visual statements about the complex nature of reality, develop in the viewer fresh perceptions, and, not infrequently,
reawaken an awareness of the Divine.