Review | The painting shows a...

Generated on 2023-07-18 04:57:01

Result #1

The ominous vision is even more clear in the show, where the shape of the ship is disrupted by a thin sheet of ice. The surface of the painting provides the backdrop for a photograph, depicting the outer deck. In the middle of the painting the shape of the ship is disrupted. These metallic fragments from the ship take on the appearance of snowflakes, which float on the surface. The deformation of the painting itself is at once romantic and dramatic. The painted solid plane, which consists of black, white, and gray lines, gives the painting its dramatic structure.There are other striking pieces in the show. Although their color is not as strong as in the paintings, the interweaveings of material and image create an extraordinary texture. One piece, for instance, is a series of small drawings, with sheets of glass arranged in a grid. The color is rich and vibrant, and the lines are composed of strokes and rows of vivid colors. The work is an apt metaphor for the paintings and especially for the images, which create an extraordinary beauty and deep serenity. Though the subjects are all abstract, the formal rules by which they are organized appear to be tied to the present day. Both the paintings and the drawings are illustrations for contemporary use, which is the understanding of which the paintings are but a preliminary study. Rather than describe a method of design, modern techniques are used to achieve a sublime beauty that is beyond the mundane. In this view, even though the emphasis is on the actual shape of a piece of architecture, there is an ever-present beauty in the form of the abstract forms that follow it. The result is an extraordinary harmony. In this intense vision, no matter how seemingly alienated from the painting surface, one can sense the presence of an immaterial presence. The forms, which exist in the present moment, are the ones that hold the promise of the eternal.

Result #2

Borrowing heavily from the stereotypes of Minimalism, Mann creates a detached, strangely minimalist approach to modernist space. He seems to be using a combination of architectural elements that relate to the common object. Here, the entrance to the city of London sits just off the far side of the deck, opposite a bedroom and a workbench. The whole structure is described by a striped-canvas facade, a thin white panel covering the top of the facade, and a painted white front that frames the lower portion of the painting. There is a flat blue floor covering behind it, and a transparent curtain in the corner of the room. The backdrop for the painting is a pair of large mirrors placed at the end of the deck. Together, they give the image a ground-level perspective, essentially an abstract, projection of an abstract space.The painting is a dashing, first-generation abstraction. A broken red-brown paint surface and a green-black background create a coloristic sense of gloom. The impression of weightlessness is counterbalanced by a thick black border surrounding the painting. Looking at the painting, one sees the effect of something dark and imprisoned in shadow. The image is melancholy and melancholy. Mann invites us to look beyond the surface, to the abyss of an idealized abstract space. Mention is made of this negative space, a space that hides the image. The painting evokes a region of mourning, a dark zone of despair. Mann has explored this space and selected a negative space that leaves a void of hope.

Result #3

The painting shows a wide-angle view of the main deck of the freighter. A crewman swings the deckhand out over the water, bridging the gap between the ship and the dock. The deckhand fumbles on the chair suspended in midair. A sense of menace pervades the abstract painting. The art critic who was on board the ship to investigate the wrecks went home to England when the crewmen were arrested, and his camera and cable were seized. The lost engine makes a comeback in the final painting, which shows the boat from the water. Seamus Horan, the chief engineer, was the most senior member of the crew. The scene is like a foggy evening of typical Irish weather. The scene, the majority of the paintings, depicts moments of sheer desperation. The storms, the fires, the stifling heat, the cold, the relentless wind—the artists plaintive words and gestures move into the luminous, shimmering light of the black sea.The use of black and white in Seamus Horans paintings was so vivid and precise that the colors and the textures began to have an evocative presence. Black, gray, or white, it does not matter. Every brushstroke, every line and surface texture, is drawn with a minimum of care. A perceptible blur, a whisper, is created by the shadows created by the shadows, like those that result when layers of pigment overlap on a surface, resulting in an emulsion. In black and white, the scale of objects and people is immense. In some paintings, the scale is so great that the scale of the paintings becomes a characteristic feature of the canvas. A small portrait of a young man sits on the center of this canvas, an important aspect in the paintings. The subjects look like the artists friends—in fact, all the figures are supposed to be very important—or the people they knew in their childhood. Horan has always found them to be people whose emotions he wanted to capture, and he has captured them in his work. In the work that he was producing at the time the white paint was applied to the canvas, he appears to have been just a young man who found himself in a situation. He did not really know what to do.

Result #4

The painting shows a wide-angle view of the main deck of the freighter. A crewman swings the deckhand out over the water, bridging the gap between the ship and the dock. The deckhand fumbles on the chair suspended in midair. A sense of menace pervades the abstract painting. The individual panels are ragged, staccato drawings. One panel depicts the back of a sailboat, the other a puddle of water. A graphic drawing of the boat deck is separated from the work by a line that reads, The deckwork was almost an image, a visual representation of the actual deckwork. The boat was literally a water-filled shape. The print is colored orange, and a bold diagonal black line indicates the direction of the boat. The direction is a historical one; the boat was invented for sails and the side that the sailboat would be supported by. He then draws a line that descends from the boat and connects it to the object pictured in the drawing, his own body. In the very next panel, the boat is shown horizontally. The drawings point to the boat as a physical object in the present. The book is a set of drawings that have been processed into a painting. The layout of the drawings is constantly changing, their colors mutating as the drawings develop their visual expression. In each of the four panels, the same boat appears; it is a self-contained, open system. He remains seated on a chair. The wheel on which he is leaning is turned at the top.The bottom panel is the only one in the series. It shows a wave crashing against the shore. The drawing is an accumulation of sequential lines. A backward-looking view of the boats bottom is blurred, suggesting that the boat could have been thrown into the water. The last panel of the series shows a giant puppet-boat, as if he were a puppet-woman. He sits on a seat, facing the viewer, arms outstretched. The painting is silent. The viewers gaze is directed toward the bottom of the sea. The work is a kind of monologue that reveals the inherent nature of all the paintings. In the end, the viewer is reduced to an object in the world that he or she can shape.

Result #5

The painting shows a wide-angle view of the main deck of the freighter. A crewman swings the deckhand out over the water, bridging the gap between the ship and the dock. The deckhand fumbles on the chair suspended in midair. A sense of menace pervades the abstract painting. The voyeur watches in amazement as the crewman is dragged out from under a table, tossed into the water, and nearly drowned in the muck. But the wheelhouse is not the only arena in which the danger lurks. A car dashes through the painting. The freehand lines and fine detail of the surface reveal the hard metal details of the car. Finally, the engineer, assisted by the engineer, moves the wheel and takes off to escape. The picture of the artist as waterlogged in a belly can be seen in the top left-hand corner of the painting, a scene of the artist trying to pull himself out of the mud. In a painting titled Two Trees on the Lake, 1971, a stick figure stands at the head of the wheelhouse. In a metal frame of light, it is revealed to be the painted trunk of a truck. A sticky, curlicued surface seems to carry the stick figure. One can see a luminous circle of light in the background. Scattered around the frame, this chaotic scene seems to encapsulate the chaos and torpor of the world. Once the stick figure has been hauled out of the painting, the stick-figure has been taken from the painting.There are four sets of words that hold together in this painting: DRY, CLEAR, CLEAR, CLEAR. They symbolize how complex and elusive is the world. The words DRY and CLEAR are often used as adjectives to describe the state of being completely clear, or pure. In the painting, the paint has been drawn over the smooth surface of the surface and overlaid with a clear layer of clear, indicating the impossibility of complete or perfect clarity. Also visible is the power of the paint on the wooden surface of the painting, and its growing tendency to drip and gather on the canvas. The clear air and transparent material create a sort of surface vacuum. The painted surface must be held in check.