They highlight the ways in which of light, color, and shape render our world in every more pleasing combinations and visions. In the end, regardless of the subject matter, and the interplays between objects, Fish’s paintings are aesthetic marvels. The hopelessly scattered puzzle pieces – bits of abstraction that add up to a whole – allude to the pleasurable challenge of both piecing together and deconstructing an image, whether painting, illustration, or photography.” As in fairytales, however, meaning is not all at the surface. Karli Wurzelbacher, in her catalogue essay, writes: “the expedient placement of a vase on an open book conjures a happy sense of disorder appropriate to the whimsy evoked by the title. One of the works on display, Anderson’s Fairy Tales, is playful, and highlights Fish’s ability to exquisitely paint a variety of objects, from glass, to the textured details of curtain lace, or the edges of a puzzle piece. Movement is derived from a viewer’s juxtapositions within the scene: natural elements with the domestic, or living creatures with the inanimate. The subject matter, while engaging on its own, is secondary in many cases. Eventually everything is intertwined.”įish’s compositions are carefully considered, often rearranged and modified over the course of days, until they “feel right.” Though she would incorporate more spontaneity into the arrangement of later works, the interaction of objects has always been paramount, and her paintings are first and foremost aesthetic creations. What matters is the complex relationship of color and form from one area of the painting to another. A catalogue with essay by Karli Wurzelbacher will accompany the exhibition.įish has said: “The real structure of the painting comes from the movement of color and light across the entire surface. Fish’s still lifes provide mesmerizing detail, and a captivating depiction of light and color, while hovering in a space between fluid painterliness and measured stillness. DC Moore Gallery is pleased to announce the opening of the exhibition Janet Fish: Panoply, which highlights major examples of the artist’s work from 1989 to 2008.
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