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She later said that she got a text from the island about Brynleigh. Then Cam said that he was a tracker and that the guy at the desk said Holiday and the Anders family were staying there. Adam acted surprised when they entered another empty hotel room. She and Adam went to find the Anders family and Holiday. He hits her with a little bit of force and then he proceeded to ask questions hoping that he would find the next location Holiday and the Anders family would go. She was most likely camouflaged until she asked her own question. She was with Adam when he started to ask questions. Was stopped by Adam because she had called the Anders family Holiday's family which angered him. Adam calls her Milla and she said she found Holiday.
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In her first appearance she was with Adam. Whittier's commands.Ĭam's first appearance was in Episode 101 but it is known that she was kinda stalking Holiday or as she would call it "observing without her knowing it" she was the one who took a video of Holiday falling of a two story building at the science fair and the pictures of Holiday messing with the snowmobiles in the blizzard when escaping the Childcatchers. She soon was dumped in the ocean because she wasn't following Dr. Camilla is the second bot created by Dr.Whittier to stop the WhittierCorp. Filled with ambiguity, the paintings invite the viewer to make a personal interpretation.Camilla is a friendly and very caring robot/bot. Whatever the cause or situation, each artwork tries to depict the fragility of life. I imagine the individual as reacting to money or job-related issues, loneliness, semi-stable environments, familial concerns, or some other life-changing event. I like the paintings to suggest controlled chaos, as if something important has just happened. They generate the inspiration and impetus for my art. Why do I paint figures? Because are people are infinitely interesting and complex. Likewise, exaggeration, distortion, and simplification of the figure ensure an original take on modern life, ending up with something I’ve never seen before. Painting with acrylics and large tools from the hardware store aids in avoiding getting bogged down in detail. Life remains changeable and ever interesting.Īs for my art-making processes, I usually begin with a simple sketch or outline of a person in charcoal on the canvas, then select a simple color palette to accentuate the emotion of the pose.
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And, the viewer interjects his or her own history in reacting to both the image and situation. The way people react to these and other awkward situations varies with the moment and their own proclivities. Using vibrant color, thick paint and energetic brushwork, I try to convey before, during and after the social distancing imposed by health concerns. Like all my figuration, these paintings blur the real with the imagined as they focus on emotions and impulses of the moment. Through color, body language, and texture, I encourage you to imagine the risk taker, the cool guy, the show off, the shy, worried person, the subversive, the unpredictable rogue or the radical. Much like modern life itself, the canvases of Divergent Impulses tell multiple stories, unique to the individual portrayed.
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Known for gestural, lively brushwork, vivid hues, and a propensity for injecting emotional confusion into her paintings, Nolan has been concentrating on the human figure the past few years, working from her Virginia studio.ĭifferent realities enliven this special exhibition of figurative paintings. She studied at the University of Madrid in Spain and holds degrees from George Washington University, National Defense University, and Portland State University. These strong influences abound in Nolan’s sophisticated, dynamic painting style. Keeping secrets and operating in sometimes unstable areas around the world pervade her artwork.ĭuring that time she absorbed the vibrant cultures and colors of the varied locales where she worked, particularly Latin America. Raised in Oregon, she lived and worked abroad with several US Government agencies before retiring from the Department of State. Leslie Nolan is a Washington DC-based painter who has actively exhibited her strong, bold artwork in the US and internationally for two decades.