Depicting a recognizable subject in a painting can evoke pleasure or even comfort for the viewer – we are familiar with the objects, figure or place. We perceptually experience a landscape when the artist captures the nuance of light, shadow and the size of objects diminishing in scale as they recede into the background.
In the new exhibition at Gallery 208, we do not have a memory of a locale or a familiar place to experience. Instead, we are able to view the unfamiliar. Beyond Surface: Abstractions by Kellie Perkins, opening April 2, is a body of work by an artist who has created accessible places and spaces for us to experience.
Instead of being constrained by the conventions and expectations of representational art, Perkins creates new forms and ideas about the potential of painting to be a new experience for the viewer. Unlike representational works in which we are limited to a place in time, Perkins creates a world of potential for us to embark on.
Unlike small works which can often limit our sense of the possible, the large scale of Perkins paintings is integral to the spatial experience. In the painting titled Storm, 36” x 36,” the artist has created an abstracted space, the color red illuminates small white areas of the background and are suppressed by lavender and shades of blue.
The formal elements of shape, movement and rhythm enable the viewer to move through the lavenders and blues on a yellow-orange brush mark.
The beauty of abstract works is the opposite of figurative works, it does not tell us a narrative story. Suppose we allow ourselves to leave the familiar world of the representational and experience the classical tradition of abstract expressionism.
In that case, we are open to the artist’s conveyed meaning and emotion using mark marking, color, line, shape and texture. While a story is not represented literally, the artist's style and approach convey a sense of an inner world and perspective.
Fantasy Falls, a 36” x 48” painting, is the only work in the exhibit that alludes to something identifiable. The artist has created a work in which the blue sound of falling water evokes a waterfall in front of something mammoth resembling a rock formation. The brilliance of the painting is subtle and similar to the way Cezanne was able to capture movement and stillness at the same time.
Fantasy Falls is mesmerizing. Created with muted colors, bold and visible brushstrokes we can sense the abstracted rock formation against an endless blue sky. In the composition, the flattened rocks are stacked and serve to anchor, and emphasize the solidity and stillness of the form, while a sense of balance and stability exists in the work.
In the blues and neutrals of the painted mark, the artist uses repetition of line to symbolize falling water and a sense of flattened movement over time. The flatness of the water pushes the rock formation into the background, staging us to sense the subject in different states of being. We see the opaque flatness, but our experiences remind us of the transparency of water.
Whisper from the Past is a small work; the 18” x 24” painting exudes something different than the majority of works in the exhibit. With less dramatic mark-making, we can float in a poetic, abstracted and manifested place of rest in time.
Contrasts of warm and cool colors swirl in movement around the perimeters of a central lavender space. The painting evokes activity and calm in mood, the lavender space shape is able to dominate amidst the swirls and movement. Again, in Perkins fashion, we experience the preferred - among turmoil a place of rest still exists.
Perkins was influenced by her training in fabricated metal sculpture during her undergraduate degree in metals from the University of North Carolina at Chapel Hill.
It was not until her study of painting during her master’s degree in art education that the artist investigated the potential of painting.
Experience in metal fabrication is evident in the works. The artist does not investigate volume but sees shapes and repeated patterns; constructing different textures on a flattened surface to create depth.
Similar to Cezanne, a dichotomy exists in the work. The background in metal fabrication enables the artist to experiment with different painting surfaces, transitioning into a painterly approach.
Perkins shared her influences and style of painting by saying the following: “By studying the works of Pat Steir, Sam Gilliam, Fiona Rae, Gerhard Richter, and Hans Hofmann, I formulated a strong foundation in the painting process.”
“Artistically, I render the unique physical nature of paint and provocatively mix colors to create a layered nomadic space on my canvases. This space resonates with my visual texture and mark-making along with my intricate treatment of the surface, using both traditional and nontraditional tools to invent marks in a multitude of layers.
These layers evolve into intense visual textures through the spontaneous application of paint, the push/pull of deep space, the form that evokes content, and the essence of the living, breathing artwork which compels the viewer’s involvement.”
Perkins explains how the “ancillary painting process produces my emotionally compelling expressive qualities in my paintings; a mark is not just a brush stroke, a squeegee pull, a palette knife scraping, or a painterly drip of liquid, but a creative, cogent, and personal stimulus, which evokes the viewer’s involvement in my work as an integral part of each person’s response.”
While representational art is popular among the public, visiting Beyond Surface: Abstractions by Kellie Perkins, is an accessible opportunity to experience the emotional and aesthetic appeal of an untethered and unlimited reaction to the unknown made known. It is as if we are on a break from what is seen to the sensuality of the unseen.
Perkins preferred to spend her career as an art educator in the Cumberland County public school system. The exhibit is an example of a dedicated and award-winning educator who remained a producing artist. We have the opportunity to see the results of her dedication to remaining an artist who explores the promise of the arts to express states of being in ways we can explore and enjoy effortlessly.
Practicing her style, Perkins successfully creates an otherworldliness through color and composition and the absence of recognizable form. We see shape and color first to pull us into space. The absence of recognizable forms creates a detachment from the natural world.
Dynamic compositions, often using diagonal lines and asymmetrical shapes, initiate a sense of movement and energy that is not grounded in the natural world.
Even seeing the smaller works, like Spiratic, visitors will leave the gallery feeling refreshed for not being tethered to the world; instead challenging our perception of reality.
Unexpected proportions in the paintings also challenge our sense of the relevance of scale and contribute to the feeling of being unleashed.
The public is invited to attend the opening of Beyond Surface: Abstractions by Kellie Perkins on Tuesday, April 2, between 5:30 p.m. and 7 p.m. At 6 p.m. the artist will give a short talk about the exhibit.
Gallery 208 is located at the headquarters of Up and Coming Weekly, at 208 Rowan Street in Fayetteville.
*Visitors should know there is plenty of parking behind the gallery. For anyone who cannot attend the opening, the exhibit will remain up until June 24. Gallery hours are 9 a.m. to 4 p.m. Monday through Thursday. For information call 910-484-6200.