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.

Karin Jurick: Star Gazers

Painting people who are viewing paintings is an appropriate theme for our times. If I were to use a fashionable word to describe it, I would have undoubtedly picked "postmodern." I will settle, however, for "ironic" and "multi-layered" (with meanings).

Though there is a tradition of including paintings inside paintings, this is the first time I witness an example that employs an actual museum setting, where paintings are the main attraction rather than a decoration. By capturing works of art in a specifically designated place, the artist reveals their status of a commodity and of public property. It is not accidental that most of the figures shown in these series have their backs turned towards the viewer: the painting is the model in this piece, and the people inside it are merely the observers.

Moreover, I find this representation as inherently ironic. Interestingly, it echoes the Chinese Boxes narrative methods used in literature. First, there is the celebrated masterpiece, second the people who view it, third there is us, who view the given painting, and fourth, if there's someone who watches us, and who can hold a brush... and so on. Such a layout inevitably puts everything in a perspective -- and puts a smile on my face. Nothing is final, everything is a transmutable shell.

Technically, accomplishing such a painting must be a difficult task for the crafts-person: there is a miniature copy of Van Gogh's "Starry Night" inside the piece. Naturally, one desires to be as accurate as possible. I recognized it immediately, which contributed to the overall enjoyment from this work.

I hope more artists will choose to paint the interior of modern venues: discotheques, book stores, even banks and malls. Such themes carry the freshness of relevancy and immediacy; such they are in our lives, and such they would appear in works of art.

Karin Jurick: Dogs Rule

The artist chooses a straightforward technique to communicate her love for animals: she brings the pet as close as possible to the viewer. Such proximity implies intimacy and companionship that reaches beyond the usual human and dog bond. The message that underlies these series of works is that we are all animals.

The depiction of the dog's hair remains convincing despite the avoidance of meticulous rendering, as it was performed, for instance, by Jan van Eyck, in the celebrated Arnolfini Portrait.

In fact, if you look closely, the Renaissance dog, though displaying a perfect hair, possesses eyes that are almost human in their expression. Furthermore, its posture may seem as rather unnatural. Comparing from a purely technical perspective, the modern descendant sheds the rigidity and pedantry that could be the flaw of the earlier period.

In front of us is a lively animal, with a characteristically elusive gaze and an obviously friendly demeanor. It is just about to be petted; or just was. There is a sensation of a fleeting moment: as we meet out neighbor, who walks his dog, we partake in small talk and an even smaller one with the pet. Often, it is difficult to determine which one is more memorable -- but perhaps less so for a dedicated dog lover.

Karin Jurick: Sumsumsummatime

I am not familiar with the climate in Atlanta, Georgia, but, according to the palette in this decorative piece, I would have to say - it is pretty hot and humid in the American south. The red and the green of the strawberries is significantly toned down by shades of black and dark orange, as if the berries are being literally weighed down by condensed heat. Though these black areas are only shadows, it is they that define the atmosphere. The reflection of the sunlight on the white plate and the fruit (I gather the light source is natural, because of the extremely sharp white/black contrast) is almost blinding, evoking summer haze. Thick, sumptuous brush strokes also contribute to a sense of a difficult hot weather.

Yet the subject of this still life also suggests a way of relief from the blazing summer heat. Half a strawberry positioned near the lower edge of the board absorbs most of the light, while repelling most of the darker hues: finish this fruit, and you will feel better. For me, this painting projects the struggle people lead with extreme weather conditions. There are moments when the heat is almost unbearable but, there is always something delicious to make one pass through the day.

Karin Jurick is a working artist from Atlanta, Georgia.

Giuseppe De Nittis: Madchen am Strand

This painting employs an unusual angle to show its model. The lady is shown striding carefully towards the sea line, helping herself with an umbrella. Her face is intent, focused on the task at hand. The scene evokes endearment: the girl appears almost helpless; it is as if she would rather be supported by a man rather than by her umbrella. The cloudy sky serves to support the sensation of uncertainty and instability.

While on the one hand, I cannot help but root for the comely model, there is something modern in me that revolts against such demonstration of weakness. We are used to paparazzi photographs of our favorite models showing their skin unabashedly. These developments reflect empowerment and abandonment of the image of a "weak and pretty" sex. Pretty - yes; but not weak, by all means.

So while this painting boasts and impeccable composition (the lady forms a classic elongated triangle right in the middle of the canvas), to my view, it holds an historical value first and foremost. This painting could serve as a fine illustration to a book by George Sand, where women, though strong, still, more often than not, are victims - of their environment, of men and of contemporary society.