June 30, 2013

Art Review: Lose yourself at sea ... at Elizabeth Moss

By DANIEL KANY

At first glance, "Surface, Light and Structure" looks like a particularly strong show of sea-oriented landscapes.

click image to enlarge

“Night Sea” by Richard Keen.

Images courtesy of Elzabeth Moss Galleries

click image to enlarge

“Re: Flecting” by Lyle Salmi

Additional Photos Below

ART REVIEW

"SURFACE, LIGHT AND STRUCTURE": PAINTINGS BY FRANCES HYNES, RICHARD KEEN AND LYLE SALMI

WHERE: Elizabeth Moss Galleries, 251 U.S. Route One, Falmouth (in the Falmouth Shopping Center)

WHEN: Through July 21

HOURS: 10 a.m. to 5 p.m. Tuesday to Saturday

INFO: 781-2620; elizabethmossgalleries.com

The technical term for this kind of painting is "marine," but it has always felt to me like an insufficient word. This show at Elizabeth Moss Galleries in Falmouth is a reminder about how complex, interesting and important this question really is, and that painting has long been able to mobilize sensory concepts beyond language.

When you orient yourself to a nautical landscape, after all, you aren't standing in water.

While Richard Keen's paintings are undeniably steeped in Maine, Frances Hynes is a part-time Mainer better described as a successful New York painter, and Lyle Salmi is the chair of the Art Department at Millikin University in Illinois.

Still, the works all participate in a deeply engaged conversation -- a reminder that Maine art has always played a leading, critical role in American landscape painting. And I am completely comfortable asserting that landscape painting is critical to most American painting before, during and since Abstract Expressionism.

Salmi's work might seem to be the least challenging conceptually, because he so clearly enforces his relationship to Monet's late paintings such as the "Waterlilies." But we seem to agree that Monet's late works took painting on a path that led to Abstract Expressionism and created our expectations about brushy abstraction and, to a large degree, painting in general.

Salmi's works are mostly small atmospheric oils that pulse through areas of color woven to the surface by hatched, thin brush strokes that insist on implying the logic of a grid.

The presence of the grid (so key from Uccello to Mondrian and beyond) is echoed and supported by the literal grids seen at the edge of Hynes' work and the clear mathematical logic of Keen's work.

At its best, Salmi's work lies down to act like reflections on a water surface. This is clearly the case in one of his larger canvases, "Re: Flecting," because of his use of red -- an insistently solid color. The red could be reflected flowers or lights, but we are certainly not seeing it directly.

Salmi's use of reflection hits both its major meanings, refraction and meditation. These are thoughtful works, and the idea of indirect vision touches at the foundation of painterly conceptualism.

Yet because of the primary role of rhythmic strokes of color on its surface, Salmi's work ultimately relies on painterly sensibilities. Whether you like it, in other words, is a question of your own sensibilities -- or taste. And this is precisely why Salmi's tip of the hat to Monet is so important: He wants to make it clear he's up to something much broader than bonbons.

Hynes' work is the keystone to the show. She has an old-school touch informed by the surfaces of artists like John Marin, Milton Avery and John Heliker -- and I mean that as a serious compliment.

Hynes' "Sea" is a 30-by-40-inch oil on canvas in which a few quavering parallel strokes work their way to the front to define the pink sky, the wave-foamed aqua sea and the green brown shore of sand and plants.

The work takes a map point of view in its lower half, enforcing this by the gridding paint strokes heading in from the edges. "Sea" is a stunning work deeply informed by Marin and Maine.

"Gull Cliff" is a particularly strong example of Hynes' painting. It looks straight down on a cove beach to the left with the water off to the upper right. The paint is so thickly built up that the work becomes a study in color and solidity from the land side against the flickered water surface defined by light, as well as the shape and motion of the water and waves.

(Continued on page 2)

Were you interviewed for this story? If so, please fill out our accuracy form

Send question/comment to the editors


Additional Photos

click image to enlarge

Richard Keen’s “Wreck of the D.T. Sheridan.”

click image to enlarge

“Gull Cliff” by Frances Hynes.

click image to enlarge

“Sea” by Frances Hynes.



Further Discussion

Here at PressHerald.com we value our readers and are committed to growing our community by encouraging you to add to the discussion. To ensure conscientious dialogue we have implemented a strict no-bullying policy. To participate, you must follow our Terms of Use.

Questions about the article? Add them below and we’ll try to answer them or do a follow-up post as soon as we can. Technical problems? Email them to us with an exact description of the problem. Make sure to include:
  • Type of computer or mobile device your are using
  • Exact operating system and browser you are viewing the site on (TIP: You can easily determine your operating system here.)


 

Blogs

More PPH Blogs