Cora Roth

In the Labyrinth, an oil and acrylic donated by Cora Roth and placed at the Weston Council on AgingAn art donor since 2000, Cora Roth had donated 15 works that were placed in 13 agencies in the Boston area. She recently moved to LA, but first donated an additional 30 large works which now hang on display in The Art Connection office gallery.

Cora describes her art as a tool: “through painting I am able to give my inner voice a visual materiality, and I strive to develop the complex tapestry of my dreams and interior existence into a clear, unified, yet enigmatic presence that is enticing from afar yet at close range remains compelling and mysterious.”

Tide Pool, an oil and acrylic donated by Cora RothMany visitors who see the work displayed in our office wonder about the medium given that it is so rich in texture. Cora explains on her website: “All the paintings are developed and finished in oil but initially I underpaint with acrylic to activate the surface and create color events that interact with the final layers. Some of the underpaintings also have glitter applied to them to catch light.”


Sighs, an oil and acrylic donated by Cora RothJim McDonald, our executive director, has been enjoying the Roth exhibit in our office. “I really love how Cora Roth has taken the music principles of harmony, rhythm, and color and applied them to canvas in her vibrant and thickly-textured paintings.”



And others offer praise of her work as well. Carl Belz, a past director at the Rose Art Museum where Cora had a show, notes that “Cora Roth’s paintings present themselves as sensuous, palpably physical objects, their creamy impasto surfaces everywhere appealing, as if inviting us from the same caressing touch that so evidently brought them into being in the first place. We’re told by the artist that she employs very small brushes to achieve that delicate effect, though eyesight alone equally suggests that oil pigment might have been patiently squeezed straight from the tube to the surface… for such is the feeling of freshness it projects.”


WeWith regard to the texture and the chronology of each work, Belz also shares that “sustained looking reveals sparks of other colors within the dominant hue, colors emanating from the underpaintings, even from the glitter with which the original grids were retraced before being covered by the oil paint we actually see. Color here suggests, however unobtrusively, that each image possesses a vital and abiding past.”


Cora attributes the main influence of her art to early visual memories of growing up in New York. “Peering out of an apartment house window at endless rows of lights, streets, windows, and buildings, and they were grids, I walk around the city thinking ‘here are my paintings.'”  

Visit Cora’s website online at