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| aluminum sunset |
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| andy warhol |
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| aubergine sky |
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| Champion Hi-Park Buddy. |
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| Downloader |
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| Joseph Beuys |
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| misty mountain |
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| monsoon |
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| moon river |
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| Out On A Limb |
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| over the hills and far away |
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| The Saint |
Walking into an artist’s studio is a privilege. There is a smell of poetry that permeates the psyche. The 2-day invitation to view Roy Green’s New Paintings - unconstrained work, took place where the taste of paint permeates. Breathing in colour, we begin to hear intense birds fluttering and dogs’ countenances, painted outbursts silent, urgent entreating from flushed surfaces striking our eyes. Being a gallery fainéant in the midst of Green’s panorama of paintings is impossibility.
SOCRATES: And there is such a thing as sight?
MENO: Yes.
SOCRATES: And now, as Pindar says, 'read my meaning:'--colour is an effluence of form, commensurate with sight, and palpable to sense.
MENO: That, Socrates, appears to me to be an admirable answer.
SOCRATES: Why, yes, because it happens to be one which you have been in the habit of hearing: and your wit will have discovered, I suspect, that you may explain in the same way the nature of sound and smell, and of many other similar phenomena.([1])
A prolific painter, opening Green’s studio door landscapes up on landscapes balance with more paintings without and with birds (Out on a Limb, e.g.) overlying dogscapes (Champion Hi-Park Buddy, e.g.) and portraits (Joseph Beuys, e.g.) interpose. Naïveté is Green’s intuitive projection where proportion collapses, precision is conciliated. Drawn off colour wipes across scenes of vociferous perspectives and brightens our mood. Erroneous foregrounds juxtapose with detailed backgrounds of kaleidoscope patterns (Downloader, e.g.). Green’s reputable, distinguished oeuvre is playfully copasetic. However, his new work has a novel infiltration of senses.
Although Green has encapsulated enigmatic experiences in The Saint, and Monsoon, for example, Green’s newest work begins by fostering magenta to transform awareness. Thick impasto texturing of Over the Hills and Far Away initiates punctuations of meditation, which again, begets more meditative works where there is balance and poise, stateliness. Grandeur in several small abstracted landscapes evolves calm, salutary realities beyond perception – poetic ideas.
These new works (Aubergine Sky, Moon River, e.g.) have a Schirn Kunsthalle cum Rothko a la Morton Feldman flavour. Green’s confidence speaks and these mature revelations are visualizations of his poetic sensibilities. According to Marshall McLuhan, it was because Rimbaud read Ruskin on the shadowless use of pure colour ([2]) that he found a clarifying title for his book Illuminations. Green’s poem, For Arthur Rimbaud ([3]) mirrors his latest illuminating paintings, dwells on purity and everlasting influence of a noble mind and spirit. Roy Green’s mind and spirit.
Roy Green
New Paintings -Show and Sale
2 - 949 Convent Place Gallery
Sat 26 & Sun 27
12 to 4 pm
by appt. 250.385.9354
[1] Plato.
Meno. 380 B.C.E http://plato.thefreelibrary.com/Meno/2-1
[2] McLuhan, H. Marshall.
The Gutenberg Galaxy. 1962.
http://books.google.ca/books?id=y4C644zHCWgC&pg=PA267&lpg=PA267&dq=gutenberg+galaxy+poet+rimbaud&source=bl&ots=KGV_AFStSq&sig=RPbNPFTiY4CilNj7565wqbzSynM&hl=en&ei=AeeTTfzQPIKsQPe2vnRBQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CBkQ6AEwAA#v=onepage&q&f=false
[3] Green, Roy.
http://roygreenpoetry.blogspot.com/
nice write up and for a pleasant change an intuitive understanding of Roy's lovely works.
ReplyDeleteThanks, but especially thanks to Roy for the inspiration to write. ~ Debora
ReplyDelete