Neil Hollingsworth: Bulb Vase no. 2

This is a very ironic image -- breakable objects inside a breakable object. The theme by itself seems rather contrived, as it is difficult to imagine someone actually storing light bulbs inside a vase but, the irony redeems it. There is something theatrical about this display, or perhaps something acrobatic. These bulbs pile up similarly to circus performances where athletes load themselves with improbable amount of weights. The only difference is that this scene appears to be more stable, and no foreboding drumming is heard; it may be seen, however, symbolically, in the heap of glass, which by itself may signify the moment of peril -- that may last much longer than a single circus act. There is no visible breaking point, but the sheer amount of fragile material forms one such mentally, in the viewers' perception.

The scrutiny of light effects also falls under the aegis of irony: natural light illuminating light bulbs... that's got to be funny -- and it is. Still, there are some fascinating refractions to be examined here, particularly at the vase' bottom. A rich concentration of white lines and seemingly random blots demonstrate how thick glass can distort light, and, make it the center of attention, despite the fact that the event takes place quite far from the center. The highest positioned bulb reflects what appears to be the hint of a window frame, an interesting detail. Since the background remains decidedly black, one can imagine the space as an attic, with a small fortochka (I was amazed to find that word in the dictionary!) for an opening. Thus, one thing leads to another, and viewers gradually discover more about the surroundings.

Rhythmically, this is a balanced composition: odd number of bulbs, three pointing downwards, the other two up, all pleasingly interspersed. This is a dichromatic painting, yet the artist succeeds in avoiding monotony; partially by using various compensatory grays and whites, and partially through the various said ironies. I have to admit that have I seen this vase in real life, I would have been attracted to it almost like by a magnet, wanting to push it just a little, to see what happens... Mwahaha! There is something very musical in the sound of a breaking glass. I think that the artist -- possibly subconsciously -- probes into this strange destructive appeal (which may also have subconscious roots). He taps into the prankish side of the viewers, testing them on the one hand, and providing with a visual outlet on the other.

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.

Mick McGinty: Spice Caddy

Introduction
Mick McGinty focuses on two different genres, one being landscapes, some of which depict the artist's surroundings, the other still life, including fruit and vegetables, as well as kitchen utensils. A common thread passes through many of McGinty's paintings: splashes of the brightest light, dominating particular areas of a given piece. This feature radically vivifies his work, but in a contrasting way. While the landscapes assume a magical, untouched quality, the kitchen utensils appear hackneyed, as if oiled by countless human fingerprints. In the latter case,McGinty manages to instill a certain look, which will be best defined as one of a modern era: personally, I get a strong fifties vibe (early Coca-Cola posters). This notable characteristic is furthermore forwarded by the glossy palette.
McGinty scales his landscapes monumentally; he respects space and doesn't flinch from wide perspectives. I admire how the artist intuits the ideal scenery and, he practically imbues his renderings of it with a tourist appeal. However, I prefer the more intimate representations of forests and creeks. I think they allow for more individual expression and interpretation, which in turn make the artist's endeavors in that particular sub-genre appropriately absorbing. Mick McGinty lives in Dakota Dunes, South Dakota, USA. He is a member of the Daily Painters Guild and keeps a website and a blog.

P.S. I have just read Charley Parker's review on Mick McGinty, and was pleased to find some similarities between my interpretation and preferences and those of the author of the esteemed blog (Lines and Colors). Considering Parker's reputation, I imagine that these similarities somehow enhance mine. Well, at least I hope they do. In any case, I would like to stress that I have become familiar with that review only after finishing writing this one.


This small object manages to pass on a sensation of a big space, presumably a restaurant. The multiple white dots on the metal and the glass represent reflections of light, coming either from several sources, or from a single one, positioned high above -- all of which implies industrial premises. In a way, the sheer number of reflections creates a visual noise that echoes numerous conversations mixed with a background music -- the usual restaurant buzz.

Considering the position of the menu, the caddy seems to stand off the table's center. In other words, it has been moved: such is the purpose of this implement, to be constantly shifted, pushed around, placed and replaced. It is a supplement to the table's usual setting. It is worth mentioning, thus, that this is still (along with the menu) perhaps the most steady of all other involved objects and subjects -- the food and the people come and go, and only the spices remain constant. This depiction offers a rare close up on a secondary character, which despite its supportive role, or perhaps because of it, provides an insight into the process, and eventually the aesthetics, of dining outside.

There is a possible humorous interpretation. The salt and the pepper are so close, as if to suggest intimacy. Indeed, if the metal ring above them would be of a wedding kind, the two spices could be viewed as a couple about to be married. Perhaps they can, if only symbolically (even more symbolically, that is), in a well spiced up dish. The rest is up to the viewer's imagination: since the two are bound together in a metallic frame that resembles a cage, one might draw unfavorable conclusions about such married life.

The detail with which the white jar is depicted is gripping: a stroke of orange, followed by a stroke of gray, followed by a stroke of white; in a way, since there is no gradation, the painter reveals how he works to produce a visual effect. This is a map of colors, with each territory reflecting a respective hue: that of the table, the metal and the light. A fascinating study in iridescence, it keeps me almost hypnotized. If, when eating out, you ever experienced the urge to play with the utensils, but felt uneasy to follow the impulse, -- here the artist provides you with a fine substitute. Just be careful not to eat with your eyes...

Christopher Stott: Bananas

Another photographic work, this fruit-piece consists of two main patches of color, each developed gradually, through gradation of value. The already familiar wall in the background is gray; darkest on the edges, it brightens towards the center, where it meets the yellow bananas in the focal point. Correspondingly, the bunch's color at this place of contact is at its brightest -- in fact, it is almost white, being lit directly. The yellow then grows darker towards the edges. The radial treatment of value consistently alludes to the source of light. This is not accidental: light, and its side effect, warmth, allow growth; bananas would not sprout or burgeon if it were not for the sun. In fact, there would not be any life at all. Hence, this painting is heliocentric, and as such, it assumes a life affirming meaning.

The interplay in the yellow's value, along with the additions of white and black, gives the fruit an "inner life," as if telling about the edible contents. Drawing and color collaborate. The drawing brings out the form -- "the skin" -- whereas the color -- the soft, sweet meat(what's inside the form). I find particularly notable the detail where the bananas accrete: a small area where there's still some green, the black recedes into the lighter brown, and the wall's gray is visible between the individual fruit. It seems that the artist explores the possibilities and the range of the yellow color in various micro settings. He approaches color carefully and meticulously, aware of its primal force; he cultivates it, translating an agricultural feat into artistic terms -- the black in the lower part of the painting may refer to the soil used in the actual growing process. Without a shade of a cliche, art here imitates life in the most direct way.

Karin Jurick: Princess Scribbles

I think it is safe to say that Jurick's treatment of light is a standout element of her personal style. It produces a distinctive effect of "opening up" the space (even the smallest) before the viewer, creating a strong illusion of presence. The combination of stark light and harsh, uncompromising shadows is particularly obvious in this piece.
Furthermore, it works well with the theme: one often tends to unwarranted sentimentalism when depicting children -- yet here, due to the lighting, the theme is relieved of such excesses. On the contrary, I absorbed a tasteful mix of nostalgia (the past) with overtones of life's possible challenges (the future) that the girl should expect. We observe her from above; we can see her whole being before us, and that her life is to unwind before her.

The painting may serve as an existential allegory. The model is richly lit, wearing a white dress and, she casts a geometrically matching black shadow; yet she squats on a surface that is relentlessly grey. Indeed, life is full of compromise, and only as children we tend to divide everything according to the black and white premise. As adults we become aware of the vast grey areas that permeate our existence through and through. As the girl is focused on her drawing, she is not yet familiar with the surrounding dominant color. We are -- but we are only the observers. Thus, everyone must have their share of learning.

In turn, the colors the girl is using may foreshadow her personal struggle and contribution. Since her choice of palette is mostly bright and vivacious, it is possible to conclude that she possesses a similarly colored soul. The smiling face that is visible near her right hand may indicate an optimistic prediction as well. Indeed, I am interested of what she hides inside that basket -- be it a bag of tricks or a future coping mechanism -- it appears full, possibly bottomless, as it should be if she is to wear that crown throughout the many years to come.