With her engaging.

With her engaging, artful vignettes about new life, Donna Moylan approaches the canvas as if it were a surface forward which any number of images, ideas, painting manners and conventions might coexist. Touching forward subjects such as war, work, global economies and the stoic heroism of the quotidian, she mixes and matches her repertoire of social and esthetic allusions with questioning intelligence and dried humor. Moylan is a taxonomist with a feeling of the absurd.

pillar Psychology (1995) is composed of a miscellany of images execut in oil and pastel. It includes a rectangle of kraft paper that has been brusquely dabbed with white paint upon which skeletal details have been drawn. Dispersed from head to foot the painting are small drawings of bone and cutouts of bees and a dragonfly, as well as collaged fortune-cookie slips. In addition, there are sum of two units vivid swatches painted in r sizzling pink, orange and white that bear likeness [i]or[/i] resemblance to downsized Abstract Expressionist paintings. Here and there, too, Twomblyesque flourishes mark the whitened clod The dominant image, however, is that of an wealthy interior painted in melodramatic red A monumental staircase be of use tos as the focal point, descending in a graceful turn to meet an ornately upholster chaise longue This grand, blood-colored salon presents an extravagantly materialistic translation of the idea of the material substance as the house of the psyche.

The R City is a fine rosy cityscape, painted as if in watercolor with brushy pats of reds, yellow, oranges, sweet pinks, magentas and brown A construction worker, a businessman, a man formally attired, and a dancer are suspended against this ground; as part of a community of population with various occupations, they are psychologically linked together, reflecting a contemporary world where adventures overlap and occur in nonlinear ways. Another work, the smallest painting in the display is emblematic of the exhibition as a whole: it consists of an opaque, yellow-green field with the figure of a brown man tilting forward not at home of the dissolving side of an orange triangle. In it Moylan have the appearances to say that figuration be deriveds out of formalism and vice versa, that painting is the site where the real encounters the imagined.

...

Home