patternsthatconnect

abstract art, a systems view

Posts Tagged ‘Moira Dryer

Moira Dryer

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Terry Greene recently drew my attention to an open letter from David Rhodes to Philip Guston. Then I saw this other letter from Rhodes to an artist whose work I have been getting to know recently: Moira Dryer. His letter at brooklynrail.org tells of a visit to Carol Szymanski and Barry Schwabsky in New York, seeing a small gouache by Dryer (photo) and being impressed by it. He comments on her approach to painting, about her influence on abstraction and regrets her passing (she died in 1992, when she was only 34 years old). He seems to agree with a comment I found by Bob Nickas that “she managed to make abstraction feel vital again” at a time when it no longer seemed as urgent or vibrant as it once did.

Here’s a picture I took of her wonderful painting entitled The Vanishing Self Portrait. I have written about it before, when I compared it to two other “abstract portraits”.

Moira Dryer, Vanishing Self Portrait,

I wondered if there were any of her paintings in UK collections, and so far I haven’t been able to find any (please let me know in ‘comments’ if you come across one). Instead I found this video at Rough Cuts of a painting show at Harris Lieberman N.Y. where we get to see one of Dryer’s paintings (at 2.50 and between 6.38 and 7.07 mins). In his commentary, James Kalm doesn’t tell us if it has a title. He does bring our attention to the handles attached to the sides and says that’s common for Dryer. Like the tree stump in the one above, they emphasise the support. With the tree stump I feel reminded of the connection to nature, there’s no getting away from it even in abstraction. With the handles, it is more the process of painting Vs utility that I connect to: was the stretcher held by the handles and tilted to control the flow of wet paint? I doubt it, but I like that the artwork gets me guessing about that.

For Dryer, painting is theatre, performance, and in both these paintings it seems appropriate to be thinking about how they were made. In The Vanishing Self Portrait the brush strokes, (or possibly erasure strokes) look gestural, I imagine the artist extending her arm from one end of the canvas to the other. Then I realise that it’s probably too wide to have been made that way. But here I am, considering the making of it and speculating about the details of that performance, whilst clearly seeing its results directly in front of me.

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Written by Andy Parkinson

April 13, 2012 at 9:00 am

Abstract portraits?

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Dan Coombs has suggested that the abstract paintings of Tomma Abts are better understood “not so much as material objects in the abstract painting tradition but as surrogate people with their own personalities. Each painting is a portrait …of something that does not yet exist[1]“. Seeing the Tomma Abts painting at The Indiscipline of painting exhibition at the Mead Gallery, I was reminded of Coombs’ article. The painting is entitled Thiale, a first name I believe. The format looks like a portrait as does its size (48cm x 38cm).

Tomma Abts, Thiale, 2004, Courtesy of greengrassi, London

It draws us in for closer inspection, I mean for us to inspect the painting, not the other way around, though who knows, maybe whilst I am studying it, it is also studying me? And studying is the mode of viewing that it seems to elicit. Some of the other paintings in the show need to be simply enjoyed, breathed in almost, but not this one; it seems to require close attention or study. And studying it slowly reveals the slowness of its making as evidence of corrections and underpainting becomes apparent.

It isn’t the only ‘portrait’ here. There is also the much larger scale work by Moira Dyer entitled The Vanishing Self-Portrait. There is underpainting of sorts in this one, but hardly in the sense of ‘corrections’. In the Tomma Abts I get the sense of painstaking application and revision, until the ‘correct’ form is arrived at. The Moira Dyer seems more about following a pre-determined course, and quickly. Painted in 1990, only two years before she died at the age of 34, it is balanced on a small tree trunk, rather than hanging on the wall. I could imagine it having been painted right there, the lateral brush strokes in a pale blue/grey with a slightly bluer frame painted around the edge with one blue paint run on the left hand side, that has been allowed to follow its course almost to the bottom edge. The paint looks like it was erased rather than applied, the erasing of an image of the artist perhaps, yet the brush strokes and the dimensions attesting to the artists presence, and body. She was here, and this ‘image’ is what is left of her performance, the record of it hasn’t vanished.

And in looking at these abstract portraits I am reminded of the Clare Woods exhibition at Hepworth Wakefield: The Unquiet Head, showing until 29 January. As well as the large abstract landscapes, which themselves allude to figures in rock formations, there are some smaller works of rocks that are specifically presented as portraits, a series of Idol heads. And then there is a small painting on aluminium entitled Hollow Face, a portrait ‘read into’ the negative space, a hole, or a clearing, in a hedge or some shrubs.

Clare Wood, Hollow Face, (my photo)

This also vanishes, if ever it was there, or only there because we see the absence as a presence and see in that a face. The painting is already there in ‘nature’ but always only inside the imagination, a portrait of something that is both there and not there at the same time, a visual metaphor perhaps. The Moira Dryer portrait is of an event, a performance that once took place, now a nominalisation, whereas the Abts portrait is of a ‘personality’ that exists only because it has been painted into existence.

The Indiscipline of Painting: International Abstraction from 1960 to Now is showing at Mead Gallery, Warwick Arts Centre, until 10 March 2012.

The Unquiet Head is showing at Hepworth Wakefield until 29 January 2012


[1] Tomma Abts by Dan Coombs in Turps Banana, Issue Ten