Introducing: artandcritique.com

I am delighted to announce that I have recently launched my own website!

I encourage you to visit it:

artandcritique.com

In this new venture I write critique on known painters from various periods, similarly to what I've done on this blog in the beginning, but better :) Critique on daily/frequent painters continues, in what hopefully would result in an optimal mix of the old and the new.

You can find out more stuff about me in the about page :)

I will appreciate any feedback on the new website and feel free to contact me with your ideas and suggestions.

Thanks.

Bruce Docker: At the Base of the Hickory Tree

The sharp contrast between the yellow and the black creates an unexpected effect of collage: the leaves appear as if inlaid into the board, as a foreign body. Correspondingly, the shadows seem to have been cut out from the surface. It only takes a small step to conjure up that the cut out pieces are the leaves, basically relocated from one layer to create another. If this indeed were a collage, the process would denote a clever trick of economy and maximal utilization of available materials. But since it is not, I tend to consider this allusion as a more poetic, inspirational and less controlled method of portraying the play of light and shadow on a small but very saturated floral area. Overall, this might be the artist's painterly version of the "flesh from the flesh" idiom.

The ragged edges of the shadows remind of what appears on a movie screen when the film starts to burn during projection. This resemblance triggers the unusual tension resulting from looking at something that is about to be lost, like a last moment opportunity -- and thus, by invoking yet another art form, the artist conveys the momentariness of the scene, as well as his own passing perception of it, not unlike in impressionism. As a side effect, the heat of the sun, which forms the blinding yellows and whites and consequently the shadows, may be additionally envisioned through the association with the technical trouble of overheating. The power of allusion adds up to that of color. As to the colors, I think it's quite amazing how black, usually assigned auxiliary roles, is employed just as actively as any other hue, becoming an active participant in the unfolding scene.

I have always had faith in extreme close-ups such as this one. They have their own charm, ensuing from the amount of detail concentrated on the very limited space -- the very essence of the presented theme. And though this piece is a miniature both in size and theme, it is not such in the aesthetic implications, which may be rich and vast, and which hold their own when compared to any regular landscape. The seemingly untidy and random composition carries an important and adequately self-important message of the beauty of nature; of how it can be found in almost any surroundings. The untidiness is a superficial camouflage of the well thought-out plan that constitutes this painting. Hence, the artist achieves what may be the primary goal of every painter: to make it look easy what was difficult to accomplish.

Neil Hollingsworth

I know that it may sound controversial, but I have always felt that photography is yet to prove itself as a real art form. Yes, there are some components, most of which were borrowed from painting -- but can the craft of a photographer, whose most basic skill boils down to pressing the button of his apparatus at the right place at the right time, both of which they often achieve accidentally, be compared to that of an artist holding a brush, with which they try to create new life on another surface? There is no doubt that photographs can induce aesthetic pleasure, but so can nature, or almost anything, after being processed, with a specific intent, in our minds. The effect by itself does not transcend the cause into what we call "art." But, there are artists -- and I mean painters -- who have found a way to reconcile photography and painting*. Thus, "photo-realism" was born. Neil Hollingsworth is a photo-realist painter, and he makes the best of two worlds.




















Neil fully exploits photographic effects: many of his still lives include metallic objects that mirror the minutest details and reflect light with unprecedented precision. Lines and palette enjoy refinement rarely seen in painting; the photographic origins rule out painterly excesses. Despite the overwhelming possibilities, Neil gravitates towards minimalistic, classical compositions, which nevertheless project a piquant off-beat quality. An object will appear far enough from the center to make the displacement notable, but not too far, as to not to encumber the viewing process. Backgrounds, though traditionally secondary, illuminate canvases with subtle but permeating light. These are elusive qualities, and figuring them out may significantly enrich the viewing experience; when combined, along with the more prominent elements, they make up the artist's style. I don't think there is a concession in acknowledging that it is more difficult to define the individual style of a photo-realist artist. But when still trying to do so, and doing so, it may prove to be a more rewarding process than usual, in direct proportion to the invested effort.




















When working within such an idiosyncratic art movement, the choice of a subject matter can also become a challenge. Here restraint and caution serve the artist similarly well. Neil focuses on a few themes and explores them almost religiously. Spheres, one of his favorite subjects, are depicted in numerous variations: transparent, translucent or opaque, in different sizes and settings, they corroborate his dedication on the one hand, presenting a true visual insight on this geometrical object on the other. Other themes include filled or empty glass containers, vintage cars and sliced bread. Regardless of the subject, Neil displays admirable consistency in accuracy of delivery. Eventually, when each painting can posit a visual surprise for the viewer, it is particularly pleasing to recognize that, while studying Neil's artwork, the feeling of surprise can become the less surprising of all.




















Neil Hollingworth lives and works in Atlanta, Georgia, USA. He has displayed his artwork in various galleries across the nation. He is a member of the Daily Painters Guild, and keeps a website and a blog.


*No photographers were harmed during the writing of this review.

Dee Sanchez: Old Window

At the first glance, the window doesn't seem significant enough for the painting to be titled after it. It is mostly covered by the pots, which along with the flowers occupy the center of the piece, and of the attention. But I think that a more allegorical interpretation may remedy this seeming inconsistency: the painting displays a part of a house, where the viewer takes the role of the guest; the window represents the host, while the flowers are the offerings, symbolizing hospitality and welcome. The window becomes the mediator between the viewer and the host, carrying good will -- and scent -- as it invites inside, bearing, symbolically, all the responsibilities of a hospitable owner. Hospitality is still considered a foremost virtue -- and the epithet in the title may indeed allude to this ancient tradition.

The green window-frame plays the role of a secondary painting frame as well. The strong, and rather mysterious emerald color may be reflective of the owner's character. The blue of the window, which blocks the view into the premises, also contributes to the mystery. It is obvious that there is only one side of the involved figure that we are permitted to see: the joyful and the blooming one; coincidentally (or not), the color of the pots is either identical or close to that of the wall -- indeed a single side of the building. It is difficult to determine whether the artist meant for the flowerpots to stick out only in parts, as the lack of shadows and depth of space doesn't allow to make a distinction. Looking closely, it may appear as if some parts of the pots are outside, while others are in -- a probable misjudgement of perspective -- or an intentional mystification -- how much the flowers inside those pots truly represent the character that owns them? Are they merely an adornment, hiding something more sinister?

Most probably not, though it always is interesting to try and guess. And, regardless, the air of mystery stays. I could not fail to notice that the color of the signature is identical to that of the window-frame -- perhaps the artist is trying to tell the viewer something, besides the liking of the hue. Perhaps there are symbolic comparisons to be made between the window and artist's persona. The window is half-open, or half-closed, while the open part is covered by the flower-pots -- we return to the mystery/host allegory mentioned above. The artist lets the viewers know that her art -- the offerings on the window-sill -- represents only one facet of her personality. In a way, this painting may serve as a confession, where the artist reveals that she does not intend to reveal too much. For the viewer, in turn, it will be the invitation card -- in case the power of attraction of the unknown will prove to be irresistible.

Dee Sanchez: Night Church

The warm and nightly atmosphere, along with other elements, is being channeled towards the specific purpose of inducing a positive religious sentiment. The growth around the building cushions it protectively, in a somewhat familial manner; this allegory may serve to remind viewers that going to church can be a unifying family occasion, and that feeling cozy is welcome. This painting conveys a sense of many people being around without actually showing anybody; it almost feels crowded -- yet not a single person is depicted. I think this an achievement of a more of a psychological and universal rather than artistic kind. This piece is occupied with people who are to be imagined by the viewer; it is as if the artist intends the scene to be personalized by the observer, adding characters from their own community.

The color of the church reflects its conceptions aptly: it glows, through value differences, and creates a mysterious air of wonder and anticipation. Specifically, there are two main colors; red, the color of blood and wine, and white, the color of bread. There are three white areas, all of which can serve as a focal point. Perhaps they can be merged into one; roughly, they are all positioned on the same axis -- a single ascending line. The cross at the pinnacle dominates the stars and the dark skies, reminding of several Christian principles at once. In a way, the cross links the earth, through the church, with the heavens, serving as a kind of a conduit -- a pictorial representation of one of the central notions of Christianity.

I like how the artist defines space here: the church is placed on a lofty, but not imposing position. On the one hand, it assumes a kind of reverence and self-sufficiency, while on the other it lures the observer to walk on that path and enter -- a symbolic process rendered through a particular depiction of space. The hills in the background provide rhythmic support and depth. The usual linear device is almost exclusively dedicated to the vegetation. I chose the word "usual" (as it is anything but) because one becomes accustomed to these lines and starts to see beyond them; here, eventually, they become invisible, imperceptibly helping to visualize random growth.

For me, they are no longer a curiosity... but an established device with specific instructive effects -- paradoxically, one needs to "ignore" them in order to figure out their purpose. This peculiarity reminds me of visual riddles, where the guesser needs to defocus while looking at a sheet of paper, in order to make out the shape hidden between the repetitive patterns printed on that sheet. Correspondingly, the artist may be toying with the traditional roles, establishing herself as the riddler, and us, the viewers, as the guessers. Personally, I don't mind being on the uninitiated side -- I like riddles, and painted ones especially.

Dee Sanchez: Clouds Over Taos

The protagonist of this piece is color, while lines, this time in their usual subdued role, are the foil. Due to various effects, palette that could seem overabundant, demonstrates a tasteful, and even austere mix. First, the hot yellow and red in the foreground are counteracted by the cool blue and brown in the background. Second, there is a linear opposition: the hills, which expand horizontally, weigh down the verticals of the bushes. And third, most of the colors concentrate in the lower half of the canvas, the top being almost all white, -- neutral and relaxing. These inner contrasts leave their mark on the observer, making viewing the painting a rather intense experience. Perhaps not intentionally so, but the multiplicity and the versatility of painterly effects burdens this piece with meaningful aesthetic tension.

The motif of levels and steps is continued here: the heads of the bushes form a ladder, as well as the hill lines in the background. It is interesting to notice how elements of individual style recur in what might seem like a completely different painting. The bushes also form a fence, not unlike the one in "Night Suns;" the two farthest hills are red and blue in both paintings and all of the yellows appear in the foreground. Yet these two pieces are entirely different. This is the sign of a master who is in control of her craft: when particular elements reappear in completely different works of art, making it evident that they came out from under the same brush.

However, determining the formal style of this painting may prove to be more difficult. The growth seems distinctly impressionistic, but the hills are quieter than that, and their color may be misleading. Perhaps they are more post-impressionistic, carrying some expressionistic elements -- an improbable combination that works, -- which may lead one to question the benefits of the style-determining practice in the first place. Often, too many specific words will only obscure the actual affect. Instead, the best way to understand and enjoy this piece is simply to move from one step to another, exploring the colors and how they interact. The artist made sure that the viewer will be kept busy for quite some time.

Dee Sanchez: Night Suns

This piece displays two bouquets: one made of the sunflowers and another of the vigorous and cheerful colors. While the blossoms boisterously occupy the center, they themselves become the centerpiece of the color bunch. Together they inspire with vivaciousness and effervescence. Compositionally, perspective also feeds this influx: the artist boldly juxtaposes the fore to the background, making the visual transition effortless and inviting. Consequently, ladders and steps become the leitmotif of this piece. The fence near the bottom resembles the appliance and the gradation of the hills' color, along with the calculated descent (or ascent) suggests a graduated progression.

This is also a very musical piece: the poles of the fence are the fingerboards, the lines are he strings, while the flowers pose as sound holes. The ladder, in turn, can be the xylophone to add some rhythm. This could seem like a strained comparison, but the painting radiates such strong rhythmic waves -- be they of color and geometry -- that eventually they transpose into the realm of sound, at least on the mental level. Accordingly, the blossoms appear to be dancing, gracefully swinging their petals. On a larger scale, the fence resembles a stave, which sinks in between the flowers; figuratively, it is they, and then the hills that play the music the artist conceived in the beginning. This painting is a little animated musical and I can almost anticipate one of the flowers to break in in singing, much like the one in the "Little Shop of Horrors." "Feed me, Seymour!!!" Ahem.

I like how the lines shape a circle inside each petal, forming a kind of a heart. It reminds me of biology lessons in high school, where we used to examine onion cells in a microscope, looking for the nucleus. As I already mentioned, the lines bring with them an incredible variety of biological allusions and insinuations. The colors shimmer, value constantly interchanging -- and the lines delimit each intensification or dilution. It is entertaining to see how a yellow segment is being followed by a darker, and eventually by a nearly orange one. I think that this is how the artist reflects the nightly atmosphere, without showing a single star or the moon. Dee creates a somewhat ideal environment in this painting -- somehow, the last thing I notice (in a deliberate way) is that the two farthest hills are actually blue and red. Perhaps this is what "ideal" really means, when odd and unusual things effortlessly seep into one's mind as ordinary and habitual.

Poll Results & Some Thoughts and News

Well, the poll is over and the majority voted in favor of leaving the current pattern. So be it! But to vary it just a little bit, I might add a compare&contrast article, like the one I did here, on two paintings by Rick Monzon. Overall, I'll try to keep it to five paintings from each artist.

Another thing I'm thinking about is how to arrange the archives better. I really would like to arrange the blog according to artists. I don't know if it's even possible on Blogger. I might need to change the template, which I am not very keen on doing. I'd be very glad to hear some ideas and advice.

On a different note, I have recently joined Blogcritics, where I am registered as Elijah. I have only published one article, it's about... "One Painting a Day" movement! Yes, movement, because this is what I believe this trend to be: an art movement, no less. Anyway, that's what I tried to prove in the article and you are invited to read it. There is even a new category created especially for One Painting a Day. You might also be interested in visiting Artmakr, where Ming, who started this great website, initiated a discussion on this issue. It's like a virtual Parnassus!

I don't want to re-post stuff I wrote for Blogcritics here, so occasionally I will just post a link here to the article there. I'm thinking that the best article structure would be something in the direction of the introductions I do here, plus a few paintings shortly reviewed -- a one time big feature on the artist involved. I should probably vary established painters with emerging ones, those with the newer blogs . As always, ideas&suggestions are welcome!

Dee Sanchez: New Mexico Evening

Introduction
Dee Sanchez translates an element of painting, the line, into an element of style. This most basic component of the art becomes a leading force in her artwork, endowing it with primeval energy and sensibility. If usually it is the colors that speak to the viewer (other elements echoing in assent), here it is the lines -- and they sing, in a chorus, sometimes performing a piece on the scale of a Bach's cantata. But perhaps even a more distant comparison is due, that to the rhythmic African drums, as when the lines permeate a painting, they fill it with a repetitive rhythm, which as if arises from the cradle of the civilization rather than from its refined temples. Regardless of one's musical, or painterly tastes, pure rhythm communicates a compelling sensation of initiation and belonging. Dee cultivates that sensation, in what turns out to be an anthropological study as much as works of art.

The lines, though added after color application, form the skeleton of the painting. They construct a foundation, in a reverse process -- something that becomes possible only due to their innate aesthetic supremacy. No matter where the viewer's eyes land, in each painting they will arrive somewhere, as each line will lead to the object it delineates. These lines form a multitude of quasi-labyrinths, from which there is always a way out, as the artist also assumes the ancient role of Ariadne, offering a safe exit in the form of said objects. Similarly to the mythical love story between the princess and Theseus, the artist forges a relationship with the viewer, except it is not of the romantic kind, carrying more of an aesthetic mutual value.

Dee notes when describing her working process that "after each piece is painted, every single shape, color, and shadow is isolated and outlined." A fascinating contrast arises: the most fundamental effects are achieved by the most sophisticated technique. This contrast, as well as the retroactive ink application, denotes stylization as the guiding factor in Dee's artwork; in turn, the latter serves to reaffirm advanced civilization, marking her paintings, though indirectly, as historically and sociologically conscious. But perhaps it is more relevant to focus on what sort of change the mentioned device produces: seemingly "harmless," soft and impressionistic pieces transform into sharp and deliberate paintings, which nevertheless retain the original mildness. Moreover, they attain a unique illustrative quality -- a true generic reincarnation. On top of that, Dee often leaves the decision on whether to incorporate the lines in a piece open for a democratic vote.

Dee Sanchez lives and works in Alameda, New Mexico, USA. She keeps a website and a blog where she publishes her work. You are also invited to visit her page on the Daily Painters Art Gallery.



The lines in this landscape produce a surprising effect: laid on the hills in the background, they reveal their geological stratification in a simulation of a cross section. I think that this feature corresponds with the mythical allusions mentioned in the introduction, though, on a more concrete, scientific level. This is the power of the line: it enables the artist to uncover the history and the process of creation, and the viewer to examine and study it. By making a scientific reference, the painter enriches and diversifies this piece. Interestingly, the vegetation also enjoys this development -- or should I say evolution -- as the lines may be depicting the fibres of the numerous leaves in this painting.

There is a pure visual accordance with the multitude of various interpretative levels and scales. The lines indeed divide everything here, but also connect: Dee appropriately named her technique as "Connected Isolationism." Looking at this painting I imagine a clew; what would happen if I pull the thread and untangle the clew? The artist answers this question at least partially, as every piece is a complete work of art before the lines are drawn. I think it amazing that a true artistic problem can be solved by technological interactive means. All one needs to do is follow the artist's blog and examine the initial painting. However, once the lines are there, the question assumes poignancy again, this time for eternity.

From a painterly viewpoint, the lines emphasize the perspective and join the colors to make this piece an effective landscape. Colors coordinate with each other in a harmony that reaches a peak in the depiction of the sky, where lines were given a rest. Soft, even playful gradation defines the atmosphere. This is a particularly notable characteristic, as the black of the lines quietly dominates this piece; it does not impose itself, however, appropriately delineating the evening mood. And on a final, more humorous note, the observer may indulge in spotting various animals or objects that the lines describe. I found at least three. This painting has a way with children, or with inner children -- depending upon the viewer.

Rick Monzon: Grand Canyon

Such aerial views always lend a soaring feeling of freedom, and power. Transformations of color in the sky, along with monumental mountains instill respect for nature, but also a kind of kinship, of participation in grand changes; the power and grandeur of nature passes on to the viewer. The contrast between blue and orange hues imparts a nostalgic yearning; emphasized by constant color transition as it occurs in real life, the sense of movement is achieved here by the seeming randomness of paint distribution. This is one of the reasons why we love watching sunsets: every change on such a large scale finds a small echo in our private lives. The formula is simple: we compensate for the difference with an emotional response, and hence the nostalgia.

When I first glanced at this painting, I immediately started imagining myself moving around and inspecting the canyon from a high position. The mysterious stripe of orange seems so tempting: "come closer and look at me..." It remained to determine the kind of apparatus I would use, and I picked a hang-glider. No motor noises; rather, a bird-like maneuvering ability, with the wind blowing right in my face, supporting the wings of my flying machine. It makes sense to entrust oneself to the forces of nature when wanting to pay a tribute and marvel at it -- if only in one's fancy. This piece, though representing a single point in time, accumulates a capacity for projecting a temporal progression, largely due to its saturnine lyricism, ensuing, once again, from the blue, white and orange contrasts.

When two elements comprise a landscape -- air and earth in this case -- it is interesting to study the relationship between the two. Do they cooperate in some way, or do they struggle, and fight for supremacy? Here, it seems, the first example qualifies. It is as though the sky invests in the earth, practically all it has -- the intense and epic palette gradually flows downward, inside the canyon -- a safe that concentrates the wealth of color. The clouds form a triangle that points towards the canyon. In turn, the ridges point towards the vertex of that triangle. Together, they appear to be communicating, striving to reach an "understanding," a kind of a common ground. In pictorial terms, this understanding translates into harmony and unity.

There is enough light to oppose the general gloomy atmosphere: it partially negates the darker tones, and reminds of their temporariness. Though the white occupies a relatively small area on the canvas, its concentration makes up for it. The energy matters no less than the territory: just consider the Big Bang theory, with the whole universe expanding from one singular point. The light enlivens this piece, or rather prepares to do so when the time is right, in a few more hours, lurking between the skyline and the clouds. It adds a touch of day to the coming night, varying even more the palette and its effects. Or, perhaps, to the parting night, as it seems that the artist leaves it open for interpretation.

Rick Monzon: Better Day; Modern House

Compare & Contrast
Though thematically the genre of suburbia unifies these two paintings, they differ in almost every visual aspect within that theme. The serene blue, the calm viewing angle and the traditional house contrast the red sunset, the voyeuristic perspective and the modernistic architecture. But these differences also have a common characteristic: time causes all of these changes. The blue skies change their color as the day nears it end, architectural tastes evolve and, open and hospitable lifestyle retracts to an enclosed, escapist culture. Perhaps, one piece continues the other rather than opposes it. We witness similar tendency in parent and child relationship: often the latter rebels and tries to differ, but eventually succeeds the former. Mutual genes -- the genre -- determine the general resemblance, allowing for contained discrepancies.

Elaborating on the offspring metaphor, and the psychological tension it entails, I would declare the moodier piece as the "black sheep" of these series. The painting is indeed darker -- and I will take compliments for the perfect choice of colloquialism in the comments, red herring notwithstanding. It also appears very private and guarded, a green hedge blocking the view, contrary to the open and welcoming area in front of the traditional suburban home. Who lives in these buildings? Intuition tells me that a conventional and somehow inevitably happy family occupies the house with the visible driveway. But a child who grew up in such an environment will possibly have learned to resent it, and moved into a quirkier, and much more individualistic structure. The protagonist from the film "Donnie Darko" comes to mind; coincidentally, his home was destroyed by an unexpected crash.


The road further brings out the accessibility of the fenceless house, but becomes a literally and figuratively hidden motif in the other piece. Because of the hedge, one needs to "approach" the building in order to try and examine it. The viewing angle positions the observer on the road rather than in front of it, which results in a comical paradox, similar to when someone looks for a hat all the while wearing it on her head. On the one hand, by placing the viewer on the road, the artist encourages her to investigate and explore further. On the other hand, the actual inability to trace the path, prevents her from advancing. The artist plays a pull&push game, as he doesn't want observers to find out what's inside but entices them try. Since this painting represents a single point in time -- we will never find the road -- and never access the house. And, even standing on the driveway, closer to the building, doesn't make it appear more accessible; on the contrary, it only seems more alien. I can almost imagine a closed circle camera being installed and concealed in that evergreen tree.

This is a secretive, exclusive or a "friends only" house -- and this friendship is very sought for. Its kind remains open for interpretation: a celebrity villa for one, it can be a haunted house for another. Personally, I like to imagine the artist himself inhabiting it; a mastermind who orchestrates the viewer's reactions and inmost aspirations. While the first painting projects contentment and self-assurance, the second destabilizes and disturbs. Together they combine to reflect the complexity of a single individual and her inner life. They provide a front and a back view of one's mind, the light and the dark side of one's soul. This is the advantage of looking at several paintings from a single series: each piece presents a different side of the theme; eventually, the series gives a more complete overview of the topic. When Claude Monet embarked on painting the Rouen Cathedral, producing more than a dozen paintings, he strove to depict as many light effects as possible. In this case, the artist aims to convey psychological and sociological phenomena. Ultimately, this series is about the people, the people we never get to see on these canvases -- ourselves and our neighbors.

Rick Monzon: Yellow Pears

The unusual arrangement of the pears, which resemble two pieces of a puzzle, sets the tone for this still life. I will avoid dichotomous Yin/Yang preludes, and will simply try to figure out what is going on here. Following the puzzle comparison, the artist tries to achieve a kind of completeness, or perfection, when all the pieces fit in and form a new image. The difference here is that there is no image to be formed, which prompts to look for a meaning instead. Although, there is a basic image involved: an ellipse. I remember reading in William Hogarth' "The Analysis of Beauty," that in order for a perfect face to shine even more, it needs the contrast of a small defect. Here, (though the perfection is of a geometrical kind) we see the defect in the form a the black spot at the back of the higher positioned pear. Clearly, the artist knows what he is doing.

This is an even composition: two fruits and two tails; almost a perfect symmetry between them. It is known that straightforward symmetry (which entails monotony) may appear tiresome to the eye. This painting can be straining despite the beauty spot; Hogarth also claimed that the artist should avoid monotony at all costs (odd compositions are often considered more beautiful). Rick defies hogarthian dogmas, and chooses the more difficult path, but offering a compensation along the way: the circular movement forms something I already mentioned as characteristic to Rick's oeuvre -- a hypnotic pattern that aims at the subconscious. In fact, a degree of monotony is essential for effective hypnosis. Hence the composition assumes an underlying purpose that justifies the repetition -- a purpose that becomes the meaning mentioned above.

This painting mesmerizes. As often happens, when more parts of the mind become involved, following a simple logic, the viewing experience becomes more difficult and intense. This is a heavily loaded piece that asks the viewer's brain to work, offering in return what may be tentatively described as "aesthetic pleasure." Personally, I like complex ideas and paintings that express such ideas. This piece generates friction between itself and the viewer. Interestingly, friction was the first step to the discovery of electricity and, in turn, mesmerism and hypnosis. If you think I just threw a few more unrelated terms into the bag, just think Edgar Poe's "The Facts in the Case of M. Valdemar," or Marie Shelly's "Frankenstein." The artist does not ask for this piece to endear itself immediately, maybe even trying to repel the casual observer. But, it often happens that things we like right away bore us quickly, while things we don't understand, and are indifferent about, reveal their depth only later on.

Rick Monzon: Filter

Introduction
Usually I follow a fixed patten when preparing to write a review. I look at some paintings and make notes on predominant characteristics, elements of style, color preferences, brushwork and so on. I brainstorm and write down first impressions. Then, using this data, I try to deduce what the artist seeks to express and what should be the general direction of my interpretation. Finally, I strive to construct a coherent argument and make conclusions about the paintings I examined. But, sometimes, the artwork resists direct analysis. I receive a different kind of inspiration, one that is difficult to put to words -- all I have is a vague sensation that morphs and pulsates inside my head and psyche. Such is the artwork of Rick Monzon.

Rick paints mostly landscapes and suburbia. It is fascinating to observe how the gloomy and troubled palette he uses in the former genre shifts towards the serene and soothing in the latter; darker tones towards the lighter. The artist communicates a complete world view that opposes the precipices of nature to the security of the city. His paintings flow and float, and, to experience them optimally, the best strategy, so it seems, would be to entrust yourself to the artist's world, and simply hop the adventure. Furthermore, in order to fully enjoy Rick's art, one has to let go of the desire for conventional understanding. Not all art was made to be understood; sometimes it is made to be felt, experienced on another level. Here it is the subconscious: his pieces transmit on waves unregistered by standard perception but duly absorbed by what resides under or behind it. They are akin to David Lynch's strange realm, particularly as it was displayed in the film Mulholland Drive, where we witness utopian urban landscapes being shown as the other side of sordid slums -- literal, as well as figurative, those of our psyche and ego.

Eventually, his paintings claim a mind -- following the subconscious -- of their own, and they speak for themselves. And this what I will try to do in my review of his artwork, to let it speak, adding not so much a critique as a commentary, sidenotes and impressions, in an endeavor to uncover the common denominator of the audience and the collective psyche that the artist addresses. Rick Monzon lives in Ojai, California, USA. He is relatively new to the online frequent painting scene, having usually displayed his work in galleries. You are invited to visit his blog and his website.



This painting displays a complex interplay between the light and the trees and the ground that hosts them. The light is filtered by the streaming growth; the result is a series of rhythmically positioned spots that create a pattern of hypnotic quality, aiming to tap into the subconscious. This device is further accentuated by the incredible sense of movement, as every trunk is somehow curved and recurved . It is as if the trees are trying to confuse the viewer, while, in fact, withholding a secret agenda: to force the observer into a somewhat delirious state of perception. At this point I already feel the need to apologize for my probably too serious tone but, following my vow expressed in the introduction, I am merely trying to follow the will of this piece. With this painting, I am a always a step behind, and the sense of uncertainty can be pretty severe.

But not all is harsh. Just as the artist's oeuvre propones a dichotomy of light and dark, this piece contains it on a miniature level. There is a captivating horizontal symmetry: three sections, one entirely green (the bottom), one black (the top), and another one combining these colors (the middle); the two outermost stripes are shown how to deal with in the middle section, where the green tames the black and vice versa. In fact, there are two major areas of color that intersect in the middle, and this arrangement is not at all alien to the Freudian scheme of the ID, the Ego and the SuperEgo. The imposing sense of distortion may imply on how things can go wrong and how difficult it is to retain one's sanity. Indeed, the line "How you suffered for your sanity" from Don McLean's "Vincent" comes to mind.

It is almost possible to see the wind in this piece. This is not a coincidence. The line of trees may be serving an agricultural purpose of blocking winds and hurricanes, to prevent soil movement and loss. It is particularly interesting to see that the wind, in fact, blows in the viewers' direction, practically into our faces. The artist creates an illusion that the trees are trying to protect the audience, forming a hedge between them and the element, dragging observers into a live, powerful experience along the way. The protective intent recurs in other paintings as well, and, it occurs to me that the painter, while violently stirring the hidden parts of the mind, assumes artistic responsibility, and guards the audience from excessive cataclysms. Looking at his art may seem like a risky venture -- but you are in safe hands, and it's a risk worth taking.

Announcement: A Poll on a Change in Reviewing Pattern

Dear Readers and Subscribers,

I have been thinking that maybe it is time to change the reviewing pattern. There are hundreds of frequent/daily painters out there. If I dedicate, for instance, two/three posts to each one (one with a review and a painting, another one or two with a critique of one or two paintings at once) I would be able to feature more artists during the same time period. Perhaps even shift towards other art forms, such as photography and scrapbooks. On the other hand, current pattern would give a more comprehensive overview.

To be honest, I don't know which is better. I like it the way it is, and I would love the new pattern just the same. So I put up a poll (right beneath the title) for you to vote and help me decide. Right now it is open for a week, and maybe I'll keep it running longer, depending on circumstances. I would love to hear your opinions and suggestions on this, or any other issue. Thank you for your cooperation! :)

Carol Marine: Umbrella Flower

The colors, how they combine, and the soaring flower just make this painting so magical and evocative, like a flight of fancy trapped by a frame. The petals resemble butterfly's wings, flapping softly but nervously, as if trying to break free from the material flower, which, in turn, also appears to hover, disconnected from the ground by the lower edge of the piece. This painting is like a pastoral poem, except that paint and canvas substitute ink and paper. Or, perhaps a haiku, a short and condensed poetical image that imparts movement, delicacy and low-key and mysterious intensity in just three lines. Yes, I like this piece. And although there is no indication of whether it is an out or an indoor depiction, I strongly tend towards the former.

The emerald green is stunning. Interestingly, it actually appears in nature but, as the color of sea, not air. I think there is a recurring motif in Carol's work: she extracts and borrows a color that is characteristic of wide planes, such as the sky or the ocean, and transfers it to her next canvas, but with a different purpose -- disposing of other actual components, for instance, ripples or clouds. She detaches and abstracts that particular color from its origin, designating it the role of a reminder, of an actor that carries the power of evocation of something big and powerful. So if the green here reminds of the sea, the question that arises is why, logically, besides providing an surrealistic tinge, the sea takes the place of the sky?

Here the title comes in to fill in the blanks of my interpretation. The flower is compared to an umbrella, an object that protects from water. It alludes to the hydrological cycle, and that eventually the water in the clouds and the ocean is interchangeable -- and so is the meaning of the background. Rain and stormy weather often darken the atmosphere, and the flower may indeed appear to be crumpled by strong wind. Together with the ominous background, the title foreshadows the impending. But this painting also contains a flashback, of a historical and stylistic scope. It is reminiscent of van Gogh's Branch of an Almond Tree in Blossom. Most of all, it resembles it conceptually; same idea, different execution and scale. Though, Carol's palette in this piece may have some van-Goghian elements, of the late and troubled van Gogh in particular -- and, this final evocation, so it seems, will certainly surpass the rest.

Carol Marine: Bulby Dots

The artist plays with colors -- the pink hides behind the blue and the white, winking occasionally at the individual viewer -- provoking a hide and seek game between the audience and the dots. The game progresses, transforming into a kind of a dialogue between the artist and her audience: she hides the paint, and they seek, as the rules become reversed, when many look for a single meaning. Every painting may be viewed as a pictorial transposition of this game, but it is here that the comparison becomes particularly obvious and relevant. This piece becomes a communicative junction between the artist and the audience -- an object that unites and connects the two parties, similarly to the home base in the game.

However, while playing, one tries to outdo the other. When the seeker and the hider arrive to home base simultaneously (I am only familiar with the variant where the former must touch home base after finding the latter), a conflict ensues. Here, on the other hand, both openly steer towards the destination of understanding. An undesirable situation in the game, it is desirable in art -- the rules, once more, become reversed. Still, the common feature of fun remains intact, though I assume that while viewing a painting it can evolve into something more sophisticated. Fun here turns into subtle humor, carefully orchestrated by the painter's brush.

The colors of these bulbs may not seem so exotic if we consider the taste of garlic. The toxic, mischievous pink wonderfully correlates with the bitter taste. Occasional spots that peep out may be warning about the overuse of this vegetable, reminding to put small amounts -- a painterly culinary guide. I think that the polka dots can also imply on garlic's true nature: a leopard cannot change its spots; garlic, even when consumed in small cooked amounts, may cause a foul breath. There is only one way to avoid it: if everybody eats garlic, nobody will notice it. Possibly, garlic is the most democratic of all vegetables. Viva!..

Carol Marine: Four Eights

These orange segments appear to be closer to the mental image, that of the memory and imaginative reconstruction, than to the original, realistic one. We do not see the natural segmentation, or almost any signs of fiber, which should be visible from that distance. Instead, there is the emphasis on strong lines, straight or arched, which enclose overruling any details areas of orange of varying value -- features that denote a geometrical schematic representation -- the first step towards abstraction. The artist's delivery shifts from accurate visual representation of objects towards their mentally processed counterparts. Perhaps, this tendency merely reflects how the artificial cutting into sections overrides the natural division of the fruit. The artist balances on the line that demarcates genres. This painting becomes a generic fusion, with overtones of cubism, fauvism and expressionism.

The colors are a visual feast. They are bright, and even flashy. Yet the artist avoids loudness; I think that the radical viewing angle adds symbolic humility to this piece -- the colors are very self-indulgent, or even self-absorbed, but the viewers are compensated by their lofty position, the literal ability "to look down" upon the scene. On a similar note, the colors may appear to be hiding something, but the aerial view does not let them, providing maximal exposure. If there ever was a need for justification of such angles, this could be it. There is a complex equilibrium between the rich palette and the ascetic perspective, as radical foreshortening tames the colors. This effect contributes the the inner unity that this luminous work projects. Interestingly, the composition plays only a minor role, as if trying not to get in the way of the other players.

A comparison comes to mind: the orange is not far from the color of gold and, considering the title of this painting, the fruit parts may appear to replicate golden pieces of eight. Now that may not seem such a far fetched hypothesis if you recall how coins were checked for authenticity. By teeth -- practically, by taste. However, when you are sailing into a months long pirate campaign, your teeth may all fall out because of scurvy. And the best way to treat it is to consume fresh fruit, especially vitamin C rich citrus fruits, such as oranges. You see, it is all connected... Conclusion: don't sail unprepared. You may end up exchanging all your pieces of eight for a piece of orange. Just like the one depicted here.

Craig Stephens: Candle #2

I think that this piece can be viewed in terms of Yin and Yang, visually as well as conceptually. There are two major areas of contrasting colors, while each one is blemished by the other -- the black wick deep inside the candle and the white spots on the nightly background. Darkness and light, both drawing meaning from each other, they are interdependent, constantly negotiating with each other. It is difficult to avoid simplification and cliche but, for once, we are indeed confronted by a strong black and white image. What is interesting in the above comparison is how Western tradition may be demonstrated not to be that different, in its core, from the Eastern.

This candle ignites a sense of delicate intimacy and warmth, as the soft yellow and white ward off the enclosing darkness. But the intimacy is rather abstract, as we don't know the purpose for which the candle was lit; it travels to the closest subject capable of carrying it -- the viewer -- thus inspiring introspection and self-reflection. In a way, the candle on this canvas sheds light on the observer, and, in a rather complimenting fashion: personally, I get a positive sensation of harmony and self-acceptance. We all have our demons, but this small light does its best to deter and mollify them.

The melted wax is visual treat: an exquisite lateral ballast that exemplifies how laws nature often make the most compelling creations. It is reminiscent of a Gaudi bench; which makes me wonder about the source of his inspiration. It is known that architects (as well as painters) sculpture their models with wax -- perhaps the bench was a chance discovery by the esteemed architect. In similar tone, the whole inside of the candle resembles an amphitheater. Translucency once again becomes a motif; this time, however, the culprit is in the center of our attention. Perhaps, in a kind of tribute, the artist depicts light in one of its purest forms. If one allows for it, the effect can be quite cleansing.

Craig Stephens: Star Thistles #5

This painting is overpowered by the ambiguous background. It is unclear whether it represents a wall somewhere inside an apartment or the darkness of a starless night outside. Not entirely starless: the two flowers may conveniently replace the absent astronomical bodies, as their name aptly implies. Though the milky surface upon which the bottle stands reflects the soft moonlight, the yellow blossoms are the two brightest objects in this piece, emphasized by the contrasting black behind them. Indeed, they are the stars of this piece.

Which leads me to a furore of another kind: the slender flowers remind me of a ballerina performing a solo dance. If we focus on the events inside the glass, the two stems appear to be walking, taking a step after a graceful step, and perhaps carrying the container with them. The bottle refracts the light, breaking their straight lines; several floating yellow petals denote the presence of water, which further distorts the original image. On top of that, the structure of the stems allows for segmentation and the emergence of knees -- all of these modifications add up to produce an illusion of movement, performed by the elegant legs trapped inside the green bottle.

Out of the glass, the flowers remain static until, if we follow from the bottom and upward, we find the blossoms, two bursts of energy. Actually, such violent outcome would seem unfitting for a ballerina dance. Perhaps a cheerleader should take over: the pompons are already there. After all, there is a prima donna in every dancer, be it on stage or on the grass of a football field. And in this associational spirit, it is impossible to ignore the victorious "V" formed by the stems.

I think that every viewer can find something for themselves in this painting: there is a point of strong tension in the center of the piece, where the bottle and the two flowers meet. It is so distorted, it may even be difficult to make out where each stem goes. On the other hand, there are the two vivacious yellow spots, laying on beds of perky white thorns. And yet still, the bottle green and the black background offer a stolid, calming distraction. Perhaps the artist intended for the viewer to alternate momentum and focus on a different theme with each viewing, or during a single session. It is either that, or you have to be performing an entrechat while observing it -- just like I did.

Craig Stephens: Honey and Cream

Before everything else, this painting demonstrates how a liquid can capture and preserve light. The role of the jar, both in the case of being an art object, and a container of a culinary ingredient, is similar: it conserves the contents (light and honey respectively) and, it mixes them, making the viscid substance appealing to the eye, as well as to the taste. In a way, the jar becomes the epicenter of an active process, artistic for all our purposes. Its placid appearance is misleading, and the lid comes to support that hypothesis: the red color implies on the representational tension occurring down and inside; the apple segment and the creamer's nose, both filtered by the said mix, only add oil to the fire. There is a sense of impending implosion, all the fumes being channeled to the red lid, a valve, which becomes the pictorial counterpoint of this piece.

But this is a three-way composition: the creamer further stabilizes it, providing a soothing outlet. Its neutral color, the color of all colors, becomes the white flag that suppresses the heat, in compositional, as well as in physical-optical terms. We do no see the cream, but the promise of it adds to the sense of balance. Appropriately, it is not the milk that gets spilled here: we can see how the golden light travels further to invade the shadow and become a part of it. A rare battle is without losses; the canvas becomes the land of milk and honey, and I should know...

The combination of two seemingly separate spheres of perception, the taste and the vision, is not incidental. It is well known that presentation is a key component in gastronomy; arranging a serving to appear appetizing demands an artistry immensely valued by connoisseurs. After the aroma, composition and color play the next in importance part in achieving a mouth-watering result. Both visual constituents, much like in painting, they target the aesthetic sense of the consumer. Consequently, this particular choice of subject matter, and its treatment, could be seen as a nod to the restaurant industry and the art of cooking. You know what -- and the art of eating, too.