Artists "Review" Artists: Imants Ozers on Sondra Arkin

The Artists "Review" Artists Project was launched on June 30, 2008.  Below is a "review" of Sondra Arkin's work, Observatory, written by Imants Ozers.  Sondra provided the second jpeg, an image of Edge of Spring, as well as a brief response to Imants' "review."

Sondra currently resides in Washington, D.C., and Imants lives in Chicago, IL.

If you would like to participate in this project, please email me at jtkirkland [at] gmail [dot] com.

                 
Observatory
Encaustic on canvas on aluminum composite panel
48” x 48”
2008

The "Review"

Like a window of cool blue framed by rippling speckled patterns, Observatory is a solid, centered composition reminiscent of sky, clouds, water and waves. A certain minimalism of design offers an invitation to meditate on the piece and let the hues and textures wash over you. The square solidity of the image confronts you as the title incites one to consider our role as the viewer of art, the world, and things in general.

What is our frame of reference? The minimal view at the center of the image is well dressed by the ornate framework surrounding it. Does that mean the way we frame something can be used to change our perception of what we observe? Is it possible to enjoy abstract modern art without falling into psycho-babble? At what point are we over-analyzing? What does this image do to the observer? It evokes questions about the way we observe, and makes us consider the reasons behind the gamut of framework we use in viewing art, ranging from, “It’s pretty” or “I like it”, to wordy, intellectual interpretations of our perception. It’s really up to the individual to make the viewing of an image their own personal experience. As for me, I’ll just say… I like it!

By Imants Ozers

         
Edge of Spring
encaustic on canvas on aluminum composite panel
48” x 48”
2008

The Response

Wow, who could ask for anything more? The lack of content in non-representational work is something that I struggle with, but this reviewer has hit on exactly the emotional content that is my intention. I love the engagement with a viewer, and what they bring. All of these works "float" on the wall, the frame of reference can be situational, and changes. Unusually for me, this work has been hanging in my "office" for several weeks awaiting its next exhibition, and my interest in it as a viewer continues to grow.

By Sondra Arkin

Previous "Reviews":
Pam Farrell on Ken Weathersby
Paula McCullough on Aric Calfee
Lee Gainer on Leigh Waldron-Taylor
Aric Calfee on Paula McCullough
Matthew Ballou on Heather Levy
Giovanni Garcia-Fenech on TJ Norris
TJ Norris on Giovanni Garcia-Fenech
Susan Tolbert on Mary Klein
Heather Levy on Gail Vollrath
Sharon Butler on Matthew Ballou
Mark L. Power on Steven Alexander
Steven Alexander on Mark L. Power
Molly Norris on M. Trigos
Ken Weathersby on Joseph Barbaccia
Sondra Arkin on Susan Tolbert
John M. Adams on Sharon Butler
Michael Paul Oman-Reagan on Brent Hallard
Daniel Mafe on Pam Farrell
Joanna Knox on John M. Adams
John Lucien Grillo on Joanna Knox
Brent Hallard on Lisa Klow
Joseph Barbaccia on John Lucien Grillo
M. Trigos on Michael Paul Oman-Reagan
Mary Klein on Imants Ozers
Richard Schemmerer on Michael Konrad
Michael Konrad on Richard Schemmerer
Jennifer Mawby on Lee Gainer
Lisa Klow on Molly Norris
Bob Barbera on Jenn Figg
Tom Wagner on Kimberley L. Lindsley
Michelle Hunter on Aaron McMasters
Gail Vollrath on Daniel Mafe
Aaron McMasters on Michelle Hunter
Demetrius Romanos on Chris Rywalt
Chris Rywalt on Demetrius Romanos

Comments

[zipthwung]

Lack of content, or the same content warmed over - I had an argument of sorts about using the same content - the other side being the old saw about painters painting the same painting, no matter what the palette or subject matter.

You cant change what you are, is the idea.

I think that's true - though my argument is if there is no evolution you are living in a utopia or a dystopia - and either way its not a good space to be in for the ravenous viewer - on the one hand, dull as dirt (heaven+ahrps+honey flavored cotton candy or whatever) and on the other extreme, dysfunction - art becomes therapy (i scream so you don;t have to)

So and then, I have an aversion to heedless scumbling and rote impasto as a rule - though I engage in it, and painting such as this - encaustic - is "about" the physical nature of the medium more than the image itself.

The weight of the sky in a James Turrell "work" for instance; sky bulging malevolently down at you like a pregnant Quetzalcoatal.

And the use of intricate shapes or detail juxtaposed against the larger forms or areas or zones or negatives. Imensely satisfying and yet so dumb as to be inconsequential. A trick like any other to be thrown aloft by wretched catgut.

What else is there? I ask not as a critique but more of a problem to be dealt with by plugging the hole and leaving it to deeper more eldritch minds to fathom.

Maybe tomorrow I will plumb the depths, and with strange eons, destroy your fragile wax works with the heat of a slowly vulcanizing mind.

But today, only ice and snow with scattered sleet.