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On Friday, April 4, an exhibit of
Valerie Patterson’s watercolor paintings opened in Malone at forARTSake.
In this exhibit titled From the Depths, there are 18 large
paintings that will remain up for
viewing in the gallery at 393 West Main Street until April 26.
There are at least two ways to interpret
the title. First, it can refer to the role of the unconscious mind in
the creative process. Certainly, Patterson’s imaginative visions are
greatly influenced by dreams, the irrational, free association, and
vivid memories. In addition, she has pointed out how rational thinking
and conscious research are crucial to the final form and content of her
pictures.
A second way to think of the title is
that the artist gives deep thought to serious subjects. Her stated
intent is to “probe beneath the surfaces of beliefs and actions to
reveal essences.” Her images are meant to be significant personal and
social comments. They address the psyche, emotional experiences,
troubling issues, and the human condition.
Patterson’s style includes both
photo-realism and surrealism. She uses her own photos as a guide for
authenticity but also superimposes images for a dream-world effect. On
occasion, the superimposed images are shocking, incongruous, or
seemingly self-contradictory.
In the painting titled Less Traveled,
the viewer sees a pajama clad child plopped down in the middle of a snow
covered country road. The child is oblivious to the surroundings as she
plays with a colorful toy. Valerie says, “Children are symbols of
vulnerability, innocence, and struggle.” In that regard, the scene
contains cast shadows that are at once beautiful and ominous. The one
point perspective of the road leads the eye back into woods both dark
and inviting. There is a psychic tension created from the visual
paradoxes.
The paintings titled Beyond and
No Hands are more conventional views of childhood but still are
mixed with delight and danger, nostalgia and nervousness. The invitation
cover for the exhibit features a painting titled Unconditional,
which shows a young person hugging a large and lone tree in the
foreground. The strong vertical coupling is balanced by a horizontal
cluster of trees in the background. Are these two “individuals”
consoling each other? Is this a composition with both psychological and
visual balance? The artist definitely uses formal means to enhance her
expressive ends. In addition, she presents her wish to “move the viewer
beyond mere aesthetics to a sense of commonality”.
In the painting titled Against the
Wall, a young black girl is surrounded by the waves and the awesome
power of nature. There is a sublime beauty to the rendering of the
water. However, the real focus is on the small child seated on a fragile
wall. The reference to Katrina and its flooding of New Orleans is
brought to mind. As witnesses to this ongoing tragedy, those viewing the
painting can make all kinds of connections from government ineptitude
and racial hardships to compassion and assistance.
Making connections to the painting
Out of the Ordinary is more of a challenge. The subject is a young
girl emerging from a toilet bowl. She is costumed in a jester-like way
and waves a wand of sorts. Is this a reference to child abuse and how it
can make a child feel rising from such emotional turmoil. Is it a
testament to the strength of the child to survive and even thrive?
Whatever the meaning, it is clear that Patterson can make the strange
look familiar and the familiar look strange.
In that regard, there are two common
images in the painting titled Love that have an uncommon effect.
In the painting, two children are holding up a sign that says “Love”
against a backdrop of a huge military tank. The colorful and cheerful
children with their sign seem to be overpowering the ponderous,
drab-colored piece of military machinery. The painting provides a
poster-like piece that makes a point. It is akin to the 60’s and 70’s
posters with their plausible phrases, such as “Make Love Not War” or All
We Need in Love.”
Among the other subjects encountered in
the exhibit are old houses, dysfunctional families, stark interiors, and
crowded city streets. In general an existential cloud surrounds each.
There is a search for meaning in an absurd world. Insensitive crowds
walk by as children suffer. Victorian houses look eerie and distorted. A
husband acts self-centered and slothful in the painting titled
Narcissus. Angst and alienation appear to be humanity’s lot in
Dead End.
The artist claims that many of her
paintings are not as pessimistic as some of her audience concludes. She
says that there are at least hints of optimism and hope in many of them.
This is especially true in the painting titled Muse. Despite the
bare room, dominant neutral colors, and an impassive figure, there are
signs of an uplifted spirit. There is a side view of a young nude woman
sitting on the end of a bed that is the only piece of furniture in the
room. She is pensively staring out a small window placed to the far
right through which she can see some blue sky and a tree. The glimpse of
green foliage perhaps hints at the tranquility found in nature that is
essential to the soul. The bright blue robe contrasted with the woman’s
variegated flesh tones adds a verve and vitality to the scene. As in
Philip Pearlstein’s paintings, a favorite of Valerie’s, the female form
is more sensuous than sensual. The title itself directs us to Greek
mythology and the academic tradition. The painting is an inspired,
sensitive and calming vision of womankind.
The painting titled Blues
presents a figure that is the opposite of tranquil. Here an anguished
face and upper torso are thrust against a warped enclosure. The head and
hands that are pressed flat evoke feelings of desperation and
claustrophobia.
The deep blue tones and distorted shapes heighten a dramatic moment. In
fact, this image is taken directly from one of Valerie’s dreams. It is
admirable that she is willing to use personal and provocative
experiences that may be unsettling. They give insight into common fears
and make profound observations about human nature. In this way, the
show’s title is most appropriate. If the viewer is willing to be open
minded, images such as this can be consciousness raising.
Valerie’s artwork in the show is dynamic and alive with many different
paintings that will keep the viewer interested. From the Depths
is currently running until April 26 and can be viewed on Tuesday
to Friday from 10-5 and on Saturday from 10 to 4. I encourage everyone
to make the effort to see this unique and excellent exhibit.
It can be appreciated on so many levels.
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