Samuelle Richardson brings to light a refined concept of artisanal fabrication with her collection of birds, dogs, and lion heads at her opening with Keystone Art Space. The need to extend beyond simple plush dolls, to move towards more artful ideas – that of permanence which is more significant than the permanence of childhood innocence – brings forward a pure felicity to the mind in experiencing the quintessence of play.

BIRD SERIES 1 by Samuelle Richardson, courtesy of the artist and Keystone Gallery. Photography by Tony Pinto.

The myriads of colors and textures provides a cornucopia of forms which are fun. The BIRD series are particularly exceptional due to their variant originality. It is in their animation which gives us a cause célèbre with so much variety we cannot help but smile at each of the textured, embroidered efforts at permanent happiness. Do we, for instance, experience the idea of predator? Of beast of prey? The absence of violent hostility, the sincerest mark of high art, of permanent beauty, of love – is apparent with these artforms. Despite the pronounced extension of each of the many birds in the series, we do not have a taste of aggression in their modest dimensions, typically not extending more than 18” in any length of measure. Theirs is a vitality, that of a palpable energy which typifies the living and not the dead.

BIRD SERIES 3 by Samuelle Richardson, courtesy of the artist and Keystone Gallery. Photography by Tony Pinto.

The raggedness may have a nostalgic element, of a rag doll left in an attic to be discovered by a grandchild in the future. This, however, is not at the center of the style; that while, yes, a resemblance to toy, with a rude simplicity in fabric construction – as if a grandmother had hand-made it for the pure joy of a grandchild – is apparent; but the confidence in the informalism provides us with a wider taste of refinement. That being, while the idea of refined is moved toward exactitude, the measured construction, with such an exertion of abundant weaving produces a healthy tension with precision. The joy, obviously is the self-evidency of a work which is beyond kitsch; beyond play doll; beyond childish yet still retaining childlike innocence with its concentration imbued with maternal consideration. Of a sincere deed from the heart – the free gift of a true mother to her child.

SEVEN LIONS by Samuelle Richardson courtesy of the artist and Keystone Gallery. Photography by Tony Pinto.

This is further seen with the wondrous LION objects; a multitude of lion heads with an exciting catalog of textures and colors. No larger than 12” in any dimension, these sensibly plush heads give us a true understanding of mirth. Of no frills, no covert dark complexity, just simple sweetness and light, As Matthew Arnold would formulate cheerfully. It is the compact appreciation of knowing delight of the senses, of a genuine return to innocence; to remain consistent with the true path which is ideal to be born on, one where happiness can be had so simply. A keen reminder, then, to proudly blazon it in a room which is acting too seriously for the soul’s sake.

TWO LIONS in BOAT, by Samuelle Richardson, courtesy of the artist and Keystone Gallery. Photography by Tony Pinto.

YELLOW LION 7, by Samuelle Richardson. Courtesy of the artist and Keystone Gallery. Photography by Tony Pinto.

Levity then is found with Ms. Richardson’s immortal aim at her daring confidence in confronting the danger of a Beanie Baby, but uproariously leaving us with a proud lion’s roar of what is possible to be beautiful. And that is a return to innocent impressions on the mind, to move the soul more harmoniously. Beauty, then, is an ideal that can feel tattered, yet never eroding.