“Mutable/Immutable”: Solo Show at Chace-Randall Gallery
liable to change.
“the mutable nature of fashion”
synonyms: changeable, variable, varying, fluctuating, shifting, inconsistent,unpredictable, inconstant, fickle, uneven, unstable, protean.
This word is by far the more important of the two, though oddly the less well understood.
unchanging over time or unable to be changed.
“an immutable fact”
synonyms: fixed, set, rigid, inflexible, permanent, established, carved in stone.
This body of work explores themes of change and the eternal in the landscape, nature revealing the mutable and the immutable.
Fleeting moments of weather and light have long been my focus. Time of day or year and interplay with clouds; light and shadow on landforms or water; and serious weather events continue to visually intrigue and inspire, making no two scenes alike.
Beyond the always shifting moments of dramatic or calm atmospherics and the impact of humankind on the land is also, however, the immutable. However changing, the earth has always been there for us.
Our source of nourishment in every way, our lands, rivers and seas are the visual imprint that I work from every day, every week, and every year. Attempting not to judge but rather to see, I adapt imagery that is only sometimes classically beautiful. The paintings then become another immutable, as I have distilled that image into a moment of time, offering it to others for contemplation.
The work in the show
Choosing the piece that will go on the postcard for a solo show is always a juggle. Generally speaking, though, the artist and galleriest select a piece that is not only a stand-out painting, but also sits stylistically and thematically near the center of the body of work, thus representing it well. We settled on “Turquoise Light”, below.
Often when there is water in an image, I work the detail of waves and currents just enough so that it reads as such, preferring to let the eye skim over the water and settle on other spots in the painting.
One consideration is similar to having a field in the foreground: where is the viewer in this scene? If the water, marsh or field start basically at the viewer’s feet, there needs to be more foreground detail or vignetting than if the picture plane starts further off.
In “Turquoise Light”, we are sitting (in our boat, presumably!) right on the water, which is a major focus of the piece. Far from encouraging the viewer past it, the water catches the eye with an array of subtle color shifts, reflections, and movement. When I paint an area with this much complexity I look at it as an abstract painting, surrendering to the process.
I also enjoyed that the sky and water are so different, even though clearly the sky is throwing light on the water.
The square format of “Intervening Space” is echoed in the composition, which leads the eye back into the painting with every shape and line. There is also a back-and-forth between the painterly illusion of depth created by arial perspective that draws the eye toward the distant hills, and the feel that the composition and relatively flat shapes create of the whole painting being right up on the picture plane.
I love playing with those two ways of experiencing a painting, counterbalancing the illusion of space in a landscape with the reminder that this is also a two-dimensional, abstract object comprised of areas of color.
For more discussion of the narrative and the abstract, see my post on the topic:https://scheeleart.wordpress.com/2014/01/01/narrative-and-abstraction-in-representational-painting/
An interpretation of the view from the fire tower on Overlook Mountain, “Mountain Mists with Sky” reveals the transitory and the solid. Fog is a beloved subject, shifting even faster than clouds, and mountains feel eternal even if, geologically, they are not.
The farm fields that you see from Route #28 at the base of Palmer Hill in Andes are a favorite subject of mine, and no show at Chace-Randall is complete without some fresh version of this scene. In the interpretation above, we are in a lovely misty summer day, rain and fog just beginning to lift but still obscuring a mountain that rises behind the horizon of the fields.
“Memory’s Waters” brings me back to moments of contemplating water during every summer I have ever known. I was also taken with the way the sun catches on the front shore on the right and then moves back into shadow on the left in this image of Cooper Lake in Woodstock.
A dark cloud in front of the sun over the Hudson River shoreline. These high-contrast images are both brooding and ethereal.
The most minimalist piece in the show, and very low contrast. I love exploring this terrain.
I also like to include an urban landscape in my shows. “Westerly Sky” captures the view from lower Manhattan that I have painted a number of times, along with another favorite view of the West Side Highway and Hudson River.
In abstract terms the piece plays with the right angles and straight lines of the foreground buildings in strong silhouette interacting with the soft diagonals of the sky. The foreground feels very stationary against the sweep of the clouds.