Abstracts’ at Marion Art Center


For above a century, museums and galleries have been exhibiting is effective of artwork — painting, drawing, sculpture, images and more — that can be classified as “abstract.”

Often it has been celebrated. Occasionally it has been achieved with cynicism, contempt and derision, often punctuated with the significantly anticipated cliche comment: “My kid could do that.”

But how does just one outline abstract art? Is it the drip paintings of Jackson Pollock or the “soak stains” of Helen Frankenthaler? Is it Kandinsky’s “Composition V” from 1911? The visionary paintings of the Swedish mystic Hilma af Klint? The Venus of Willendorf? Hand prints on a cave wall?

Picasso claimed, “There is no summary artwork. One particular need to generally commence with a little something, later on 1 can take out all semblance of actuality there is no longer any risk as the plan of the object has remaining an indelible imprint.”

Too Much Talk by Pat Warwick

The painter Milford Zornes said, “All art is abstract because art is an abstraction of the truth of the matter.”

As a result, all art is deviation from fact. A painting of a tree is not a tree, a painting of a nude is not a nude. It’s a divergent truth. To tap the pop tradition zeitgeist, it is a variant from the multiverse. It’s a lie. And if a realist portray is an untruth (and of course, it is), perhaps the more abstract the perform, the greater the lie.

Tulip And Rose By Pat Coomey Thornton

But the lie serves a intent: it conveys distinct realities that in the end link humanity with the planet at huge as lifestyle displays character via distortion, be it mild or wild.

The current exhibition at the Marion Art Middle features three painters who dive into the deep conclude of the pool of abstraction, make a major splash and do their laps with correctly executed strokes.

Rachels Cove by Alyn Carlson

Pat Warwick

Various of the works of Pat Warwick are abstracted only marginally as there remains a apparent and unapologetic relationship to the “reality” of landscape portray.

Aftermath by Pat Warwick

In “Aftermath,” a band of grey throughout the leading delineates a horizon over a morass of amber, brown and olive-green streaks that replicate a industry. A modest red flag dangles from a twisted wire on a crooked publish and it to some degree would make the stage that it’s just a minimal lie.

Warwick’s “Wintermarsh” capabilities yellow strokes and black shadows that counsel straws of hay protruding from a grayish blue mound of snow. She disrupts the regular spatial relationship of a “realistic” portray by flattening the photo airplane, so that foreground and qualifications develop into a person. 

With “Overview,” Warwick gets to be extra playful with shade and composition, with the whisper of a tree to just one side when she goes total-blown non-goal in “Too A great deal Talk,” with like of brushstroke, mark producing and nonsense calligraphy.

Blossoms by Pat Coomey Thornton

Pat Coomey Thornton 

Pat Coomey Thornton’s abstractions are bold and whimsical explosions of shade that often (but not normally) are encouraged by floral motifs. With thick curving traces of lavender, blue, orange, scarlet, pink and additional in “Blossoms,” she has made a tightly choreographed visible dance. 

The drive and pull plays with the viewer’s sense of room. Hardly there, but there however, are intangible shapes — curved leaves, flower petals- that equally pop ahead and recede into the background.

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