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.

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.