Bruce Docker: Blue Field, Green Sky

I have always found something soothing in deep perspectives such as this one. The eye may travel languorously from the closest tree to the farthest, without tiring; on the contrary, the process may even produce a re-energizing effect. The space is divided by color, the blue assigned to the foreground, and the lighter greens and yellows (save upon the trees) to the background -- further (following the lines) emphasizing the difference between the close and the more distant areas. Perhaps such a painting may serve as a substitute for a nature walk, at least from a compositional&spatial point of view. The colors, though playing an important role in defining the realistic compositional space, are much more surreal than "natural." Perhaps the only realistic color here is the white of the cloud, which hovers above the scene, in an engulfing motion. It may seem as a foreign body in this piece, conflicting thematically with the rest of the palette; still, it provides a needed relief from the rather intense, typical to the artist's style saturated hues.

The fence in the foreground is a recurring motif. It is interesting to notice how dilapidated it always appears, and even more so how its parts seem to form hieroglyphs, repeating the oriental theme I described in the previous post. But it may have a different symbolic purpose: together with the hill and the blue stripe near the bottom of the piece (which resembles a ditch filled with water), it forms a series of obstacles preventing unwanted visitors entering... the blue castle near the right upper corner! But this scenario may have its faults, as the yellow plains behind the hill seem to put in question the effectiveness of such a defensive complex. Still, the idea of defense pertains to this distinctive arrangement: perhaps, along with the line of trees, this is a farmer's way of protecting his crops from invaders, in the form of people, as well as natural disasters.

The shapes of the trees and of the cloud, though recognizable, are on the verge of transforming into completely abstract geometrical forms. This could be the result of a light effect of extreme sunny haziness, the same one that renders the sky green, -- it may be distorting the shape of said objects too. But the contours around the crowns and the cloud undermine this hypothesis. There is an obvious intent of making these forms contained and distinct, regardless of surroundings. Therefore, the abstraction, as well as the contours, demonstrate an intentional stylistic bias. The lines in particular are post-impressionistic, van Goghian, to be even more specific. Nearly every landscape van Gogh painted after seeing the impressionists in Paris boasts such lines. I find the allusion quite gratifying: besides the tribute, it adds historical depth to this daily painting.

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: 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.