Dan Wilson on sat 30 jan 99
Elizabeth,
I have heard it said that a good work of art is the result of the
successful even elegant resolution of conflicts that arise during the
process of bringing together diverging elements of a composition. My first
reaction to your recent work brought this to mind. As I surveyed your
offerings I was struck by an apparent struggle to achieve a suitable
balance between three major elements; the subdued and delicately rendered
watercolor-like paintings on white backgrounds,the frames which surrounded
them and finally the stamp. I took pleasure in seeing how you approached
and solved this compositional problem. As I went to each piece I noted
changes in the relationships of these elements to each other and how they
related in terms of overall composition. It was apparent to me that this
was the problem you'd set for yourself.
"Bees and Plums" set the parameters as the three elements I've described
seemed to exist in their own context, each demanding special attention
without regard to the other others even though they were in close
proximity. The geometric and almost linear configuration of the painting
established a vertical axis around which a massive and intensly colored
slab played a dominant role as its organic convex edges and complex surface
enhanced by reflected light pulled my eye away from the center and at times
out of the composition altogether. The stamp in the lower right corner,
because of its size, shape and its position relative to the painting
appeared to demand unwaranted attention drawing my eye away. These
elements although interesting on their own were difficult for me to bring
together as a cohesive composition.These problems were nicely solved in
some of the remaining of pieces, but not all.
"Shrimp", "Wisteria and a honey bee" and the untitled "traditional sumi" on
the right all successfully resolve, in varying degrees, the problem
established in "Bees and Plums".
"Shrimp" presents us with a roughly diagonal composition in which the
elements of line and shape are complimentary and reflected throughout the
painting and the frame. Notice the curvature of the shrimps head antenea
and body and see those same lines reproduced in the outer edges of the
frame. Also notice the diagonal positioning of the shrimps body from bottom
left to upper right as the masses of its various parts march toward the
upper right hand corner of the frame which is stretched and attenuated
along the same line bringing it to a logical conclusion. Very nice. The
frame itself is not as complex and demanding in terms of its surface. The
stamp, although still dominating because of its color and value, has become
a part of the painting rather than the frame. It is reduced in size and is
more successfully integrated into the composition as a whole.
"Wisteria and a honey bee" is, in my opinion, the most succesful resolution
to the problems presented in "Bees and Plums". Here we have a very similar
composition also oriented along a vertical axis. Unlike Bees and Plums
though the frame is not as massive nor is its surface as complex. This
reduction of emphasis allows the painting to remain the focus of the
composition. Also, notice again how the curvature of the elements of the
painting, even the direction of the flight of the bee, are from left to
right and that this movement is reflected in the curves of the frames outer
edges and again in the frames inner edges as their lines push and then pull
the composition along from left to right. This serves to unify the elements
of the whole in a dynamic yet suitable and pleasing way. Also notice the
stamp has taken a less prominant position in the hierarchy of forms. It is
reduced in size and does not compete as strongly with the other elements.
Although I am unfamiliar with traditional Sumi I am assuming that
"Untitled" on the right is closer to the model or the source of your
inspiration. I have to admit I am especially fond of this kind of
directness and simplicity of form. When done well it can achieve a kind of
quiet repose, distance and self contained serenity that I find appealing.
Careful attentention must be paid to the treatment of surfaces though so as
not to muddle the clarity inherent in such works.
Finally, (bet you thought I'd never shut up) we are left with "Peas",
"Goldfish" and "Dragonfly". Here we see the problem resolved in a different
way as the frames now dominate the composition. So much so that they tend
to press in on and even constrict and destroy the paintings natural
softness and openess; cutting off parts of the subject. It is as if we are
given a cylinder through which we must view a very small part the world
you've created for us. This is in contrast to your other compositions which
present us with a wider and more complete and open view.
Let me end by saying what a pleasure it was to get involved in your work
in this way. I enjoyed it emensely and I hope that my observations
presented you with something new to consider.
Dan Wilson
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