Rocky Neck Cultural Center hosts ‘Expressive Painting

The plein-art tradition on Cape Ann has a storied tradition and a deservedly solid reputation. Abstract art does not. With a new exhibition currently on view at the Cultural Center on Rocky Neck, “Expressive Painting, 2013,” a modest show aims to establish the newly opened gallery space as a home for challenging non-figurative art.

With about two dozen works by seven different artists, “Expressive Painting, 2013” makes an impressive start. Curated by Ruth Mordecai, who also shows in the exhibition, the collection ranges from muted and introspective works by Susan Erony and Yhanna Coffin to bold and bright pieces by Laurel Hughes.

In between are works in acrylics, oils and collage on paper, impossible to categorize in one sentiment but nearly all repaying the viewer’s attention. A large piece by Hughes, “Grace on Water,” forms the visual centerpiece in the gallery. Atmospheric swirls of color might actually be water, but only during those times (known to everyone on Cape Ann) where the water’s surface has been radically transformed by natural light.

Deborah Lloyd Kaufman approaches “landscape” in an alternate way: her “Rainforest 2010,” a riot of yellow background and chalky verticals, seems to attempt to make sense of the lush overgrowth by breaking it into architectural quadrants.

Mordecai’s own work bears the strong influence of architecture. The largest of her works in the show, “Between Painting and Sculpture #3,” is aptly described. Mixed media on a vertical canvas, with rough outlines that create the sense of defined space, but are challenged by soft pastel interpellations, altering the mood within the work.Find Complete Details about howo tractor Truck.

Erony’s and Coffin’s work, linked only in that they are almost entirely black and white, are the most striking intellectually. Coffin’s mixed media “Grief” captures a mood with inexplicable directness. There is no mistaking the subject, even before the viewer reads the labeling.

Erony shows three works, two small pieces and the larger “Winter, 2010,” which blends acrylic on canvas with burnt paper. That piece vaguely references the popples visible along the beaches, but with a disturbing sky. The burnt paper border suggests not only some man-made force overtaking the natural scene, but the artist’s own abandon toward the piece.

The great attraction with any abstract work comes in the intimate dialogue created between viewer and object. A well-crafted creation of mysterious intention invites the viewer toward meaning without ever specifying it, creating an energy that continues to flow back-and-forth. “Expressive Painting, 2013,” the first in a year-long series at the Cultural Center, is a bold start for a gallery that promises to challenge the conversations of the Cape Ann art world.

“Mine and Clint’s parents, MT Joseph and Chinnamma Joseph, were friends. Clint’s father is a natural storyteller, who shared many tales about their son’s life. At such a young age and without formal training in the arts, his works were technically brilliant. Painters would agree it requires years of practice to produce such pieces.”

She added, “From chalks to crayons and watercolour, Clint used every possible medium to create drawings and paintings that depicted the world as he saw it, leaving art admirers and critics stunned by his maturity and convinced about his artistic genius.”

Nair spent several hours in Clint’s room with his works and noticed that nature was the key inspiration. His mother would take him for walks and tell him interesting stories about the butterflies, lakes and other things around him. He translated everything he saw and understood about nature, on paper. His paintings often describe, in a subtle way, the feeling of solitude and pain.The stone mosaic series is a grand collection of coordinating Travertine mosaics and listellos.

Just before his death, he would ask questions like ‘how did human being comes into existence?’ And ‘why do people die?’

“A day before his actual death, he scared his parents by pretending to be dead. He would draw for hours at length and sometimes, as his mother massaged his right hand,We offers several ways of providing hands free access to car parks to authorised vehicles. he continued painting with his left. It was like he was on some mission, or had set a target to complete within a set time,” shared the author.

She quoted an excerpt from the book, where she described a competition in which Clint participated.

“It was at a children’s park near Kochi Lake. Competitions were in three categories — pencil, crayon and watercolour. Participants were allowed to choose one medium, being allowed just ninety minutes. Clint was unable to comply with the rules and insisted on joining all three categories.”

Nobody depicts dudes the way Green does, and making his way up from the nadir that was 2011's The Sitter, Green is back in fine and funny form with Prince Avalanche, a story about-- you guessed it-- two guys stuck together. This time they're on the verge of becoming brothers, with Alvin (Paul Rudd) in a relationship with the sister of Lance (Emile Hirsch), who's much younger and probably a lot dumber than the buttoned-up Alvin, who speaks in weirdly stiff language and is constantly encouraging Lance to make something of himself. Then again, Alvin's the guy who has taken a job painting yellow stripes on roads and installing signs, bringing Lance along with him for a summer of camping in a part of the Texas wilderness recently destroyed by wildfires.

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