photographs by ten gallery artists rouse impressions as much about
memory as about observation in the exhibition Serenading Summer,
opening at the June Kelly Gallery, 166 Mercer Street, New York, on
Friday, June 22. The work will remain on view through July 31.
Each work has a sense of
timelessness ripe with nostalgia, wherein a place, a time or a day,
a certain kind of weather, expectancy or feeling, gives rise to the
contentedness of summer being as intriguing as a serenade.
Rhapsodic line, passionate
color, vistas beyond measure, the light, the air, all heighten the
psychological enigma of summer impressions summoning recall for
artist and viewer. Conceiving of an exhibition of works of art
around the ambiguous but poetic thought of summer and serenade
brings to mind a quote from the late Henry Geldzahler, “You see
color as you’ve never seen it before, as if color itself were
floating in the air. It is an elevating experience. It
makes you walk a bit lighter for the rest of the day.”
How fitting a thought to
relate to Nola Zirin’s endlessly evolving palette of superb color
brought to new heights in her abstract impression of skyline,
landscape and waterscape titled Cane Garden Bay.
Stan Brodsky’s visually
arresting painting titled Edge of Summer is glorious with hue
intuitive of landscape he has visited. Bold orchestration of
blues and greens punctuated with spirited amorphous figuration
brings about intelligibility to a work of sensual and visual passion
resonating much like summer’s magic.
In Steps for a Dreamer,
poet and visionary Elise Asher’s lyrical and evocative imagery fuses
myth and mundane prompting soulful awareness as oft realized when
savoring moments of summer’s mysterious transcendence.
Surreal impressions of the
natural world rendered with palettes of minimal color conceivably
recall déjà vu in two widely divergent compositions.
Linguria Suite (9447), Sky Pape’s symphony of black calligraphic
markings in rhythmic progression frolic with the innocence of summer
abandonment in an atmospheric dreamscape.
Carmen Cicero’s gripping
composition of dark flattened contours contrast with brilliance of
light in his painting titled In the Still of the Night.
The drama of shadow and light…of black and white deepens eerie
alienation along an isolated road, poignant with presence of uncanny
stillness, perchance alluding to prelude of a summer evening.
photographic image, Spill, Governor’s Island, casts hypnotic
stillness that is visually and emotionally aroused with realization
that the panoramic waterscape hints at objective detachment.
Yet, it is Martin’s artistic visual dialogue that pointedly subjects
deference to one’s psyche wanderings reflective of reveling in a
state not unlike summer’s conscious oblivion.
Henderson’s colorful image of costumed participants in an annual
highly anticipated event -West Indian Day parade, Frances
Hynes’ painting Cottage at the Lake, a charming small house
with pink roof tucked within the dignity of summer flora, Kay
WalkingStick’s Aquidneck Cliffs, an endless vista with
concerto of sea rushing against rock and Philemona Williamson’s
painting titled Sunday Picnic with children at play wrapped
in the glow of mellow light….each work visually articulates the
sense of summer’s weightlessness.… the abstraction of connection
with summer as lovely as a serenade.