Here are more paintings from the crit group to which I belong. As you may be beginning to feel, each person in the group has a distinctive style or voice, and yet they continually produce new and exciting work.
Susan did two versions of the same landscape, in her explorations of abstraction. I’ve put both up for comparison:
Susan said she couldn’t have done #2 without having done #1, which I think is one of those truths that we would like to forget. Sometimes you have to work through the brush to get to the berries (or some such metaphor). I think the second landscape is berry berry good (sorry– couldn’t resist). In the second one, Susan was working over an older painting, which gives a greater richness to the surface. I’m particularly fond of what she accomplished in the mountains, allowing the underlayers to come through.
Helen Kroger’s simplest piece this time feels very Japanese to me:
Helen reworks her surfaces again and again, which I think this photograph shows — the pentimento of a forest in the lines faintly appears on the left.
Jane and Helen’s work complement one another, Jane being fulsome in the best sense of the work, while Helen is always minimalist. Both bring variety of color and shape, variety that is subtle and which works its way throughout the surface.
David Trowbridge is perhaps the most abstract of the painters in the group (although others match him at times) and he is doing landscapes, all the time. This is a seascape:
David always seems to me to show an “intense freedom,” a kind of oxymoron in our usual sense of “freedom.” His intensity of strokes and color belies the sense of freedom exploding on the canvas. As you might be able to tell, I’m a great fan of his work. David has been renovating his home and at last has been able to work in his studio again. Perhaps it’s a release of the repression he felt when he wasn’t able to work freely that shows up in this and the work that will appear on Tuesday.
More images of the work of David and Helen and Jane will appear on Tuesday. –June