Coming and Going #1. Acrylic on Canvas. 27.6 H x 11.8 W x 0.7 in
In this colorful series of acrylic paintings by Margit Platny, we see figures traverse an abstract landscape defined in minimal fashion by brightly colored, highly textured horizontal planes.
Coming and Going #2. Acrylic on Canvas. 19.7 H x 19.7 W x 0.7 in
The figures are painted, for the most part, like colorful shadows, contrasting with, but not entirely separated from their contexts. We see here that this is a man, but that is a woman. We see that that one is running, and the other walking up stairs.
Coming and Going #3. Acrylic on Canvas. 15.7 H x 19.7 W x 0.7 in
We only see the features that their outlines might reveal. The details are irrelevant, as the figures are used decoratively, participant in, rather than focus of, the artwork’s aesthetic.
Coming and Going #4. Acrylic on Canvas. 19.7 H x 19.7 W x 0.7 in
Milky Way II. Acrylic and Oil on Canvas. 47.2 H x 31.5 W x 0.8 in
In these two dramatic works by artist Grażyna Smalej, the Milky Way, the galaxy of stars of which our own solar system is part, is shown as a colorful plume extending up from the horizon to tower overhead, resembling a roiling forest conflagration. The artist uses the the vertically oriented canvas to give the night sky, and the arch of the Milky Way, its towering aspect, while her use of color enhances the contrast between the the darkness of empty space with the luminous galactic cloud.
Milky Way I. Acrylic and Oil on Canvas. 47.2 H x 31.5 W x 0.8 in
Dame lo. Oil on Canvas. 78.7 H x 82.7 W x 0.8 in
Diana Roig paints richly textured gestural paintings. In Dame lo, the artist has created a piece that has all the colorful complexity of marbled clay, but the grittiness of a cross-sectional slide of scar tissue. The artist says that some people say that it feels like a landscape, and that others say it reminds them of water lilies.
Sink Full of Dishes. Oil on Wood. 46.5 H x 33 W x 1.8 in
In Sink Full of Dishes, artist Emma Copley paints in bright, cheerful colors, a garden, and behind it, a pleasant landscape of golden hills and tall grasses, as seen through a kitchen sink’s window. The view is from the artist’s summer home, and is the view the artist would have seen when standing washing up after a meal. The sink area, painted in blues and blacks, is full of dirty dishes, haphazardly stacked and waiting to be washed. The dirty kitchen taunts us with its routine drudgery, while we long for the freedom and pleasure of the bright garden.
It is tempting to read the presence of the dirty dishes as a conscious act of defiance by the artist against the cultural imposition of norms of feminine tidiness, but the tyranny of domestic chores over those who work from home: not only is the artist’s kitchen being presented to us in a state of disorderliness, but the artist has prioritized the painting of this picture over washing up.
SAT NAV. Oil on Wood. 15 H x 11.4 W x 0.5 in
In SAT NAV, the artist again shows us a part of the world as seen through a window, this time through the windshield of a vehicle. In the foreground is the dashboard of a motor vehicle, the steering wheel on the right-hand side in the British fashion. Through the window we see what might be an old windmill. The view through the window is awkwardly constrained by the vehicle. One wants to sit up and look over the dash, but one cannot.
Beach Day. Oil on Wood. 19.5 H x 31.5 W x 1.5 in
In Beach Day by British artist Emma Copley, a multitude of people occupy a distant sandy ocean-side beach. A bluff is seen in the distance, upon which are several cheerful white houses with blue windows. In the foreground is a small rambling fence. The sea is painted in a myriad of blues, pinks and yellows, while the beach sand is predominately yellow and orange. The scene is lively and fun, but distant. This distance, coupled with the thickly applied paint and vibrant color, encourages us to focus on larger patterns of how people group together and use space, rather than their individual activities. A socially oriented landscape.
Looking Back. Acrylic on Canvas. 20 H x 20 W x 1.5 in
In Looking Back by painter Paulina Swietliczko a woman stands on the beach cooling her feet at the water’s edge; her head is turned away to watch two approaching figures, walking or running across the sand. The colors are rich and earthy, and redolent of the calm drowsiness of a hot summer afternoon. Our eyes are drawn toward, and then deflected from the standing woman, as we re-orient ourselves toward the object of her gaze. Or what we guess is the object of her gaze. Indeed, we may wonder whether she is not lost in some pleasant reverie, perhaps a fond memory of some summer day long past.
Harvest Season. Oil on Canvas. 60 H x 40 W x 1 in
In Harvest Season by Iraqi-American painter Qais Al-Sindy a man and a woman present their harvest of dates. The man, clothed in white, stands behind the woman, clothed in red and black and holding a bowl, as if to invite the observer to taste the fruit of their labor. Their colorful garb contrasts with the more sedate colors in the background. In describing the painting, the artist recalls visiting Southern Iraq and watching palm date farmers climbing trees to harvest the dates. The painting, indeed, presents itself as an amalgamation of memories recalled with the vibrancy of youth.
In this vivid painting by Polish artist Hanna Ilczyszyn a girl sits up in a tree whose yellow leaves have all but fallen to the ground. The girl’s face is hidden, though she looks out at the observer, as if to ask, “Who is it on exhibition?”
Acrylic on Canvas. 47.2 x 39.4 x 2 in.