March 5, 2017

Sue Danielson continues this recrudescence of Abstract Expressionism from the mid century in eliminating any preconceived notions of what an emotional image should feel like. Most prominently, she is not content with the mere play of the elements of a composition, and terrifically so, for she reduces a visual art to its bare necessity to then reconstructs it to present an abstraction of a complex emotional state. Her work here is more conducive to poetry, in labeling such an inarticulate sensation of being, in such an ephemeral yet recurrent moments, with paint.
But calling it just paint is an extreme understatement. She is creating a harmony of shapes and lines, painted neutrally so the visceral is removed, so the viewer is left trying to put the puzzle pieces together. This reduction to accomplish an unadulterated state for Ms. Danielson to capture us with an emotional declaration is best represented with Effervescence (When I Saw You). The whited blots which pock the central part of the canvas (which is generously sized to give a sense of embracing the viewer) give a sense of genesis, a sense of an emergent phenomenon that is bubbling from underneath the surface. And perhaps this sense of birth is enabled by the contrast of the white with the primary colors; yet again, these primaries are not flamboyant; they are a means to an end.
What is this end then? Perhaps this sense of fermentation is synonymous with the sudden realization, the time delay, of being struck with a first impression. Effervescence tend to be diffuse as well, starting rapturously vigorous yet slowly fading into geriatric decline. It is, in other words, a brilliant artistic stroke to be able to successfully capture such a complex movement of being human in such pure artistry. I am biased toward vibrant colors, but in this context, it must be appreciated what an artist can birth with the focus on being poetic with paint.


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