As the summer sun shines bright and families along the shoreline hit the beach, I'm reminded how critical it is to get out and re-connect with the great outdoors. It's from this source of inspiration-the unity of people and the natural world-that Sylvan Gallery draws its newest summer show, Timeless: The Figure & the Landscape.
"Many of the artists are dedicated to the historic tradition of working directly from life, interpreting the natural world around us," states Ann Scanlan about the display that features artists Peter Arguimbau (Greenwich); Angie Falstrom (Old Lme); Cora Howard (Clinton); Leo Jensen (Ivoryton); Chris Karpinski (Waterford); Deborah Quinn-Munson (Chester); John Stannard (Branford); Indiana artist Laura Winslow: Stan Moeller (Maine); Gavin Gardner (Maryland); Al Barker (New Jersey); Crista Pisano (New York); Karen Winslow (Vermont); Jennifer Li (Montana); Nicholas Oberling (Montana); and Jen Harmon Allen (formerly of Madison, now living in Utah).
Usually the gallery space is dominated by paint, but this go-around, the exhibit integrates the sculptural work of Leo Jenson, Mariette Turner Brown, and new artist, Allen.
This is the first show on the East coast for Allen, who focuses her bronze sculptures on the gracefulness of the female figure. Despite the obvious differences in ultimate style and technique, there's an undercurrent of Alberto Giacometti that emerge in Reina and Miel. In Reina, a stoic figure stands tall, shoulders square, and face placid; her heavily worked skirt obstructing all but the hint of her hyper-elongated legs. In Miel a slip dress with scrolling details glides over the lengthened legs, which are extended in a stride very similar to those found in Giacometti's City Square. Other pieces, like O Victory where an armless, faceless figure glides through the air as if in flight-her gauzy skirt slicing through the wind-seem to unite the ancient and the modern.
Karen Winslow, known for her stunning landscape and precise still life work, approaches the human form with a sensitivity rarely seen along the shoreline. Her two, standout pieces, Back Light and Toasty Buns, have fantastic curved lines, soft lighting, and velvety texture. The overall effect is honest and downright beautiful.
Leo Jenson resurfaces at Sylvan with Cool, which is just that-cooooool. The soothing blues of the water and man's bathing suit are complemented by the bold yellow stripes of the railing and the odd posturing of the posed figure; all combining to give a distinct air of nonchalance.
John Stannard and Deborah Quinn-Munson are always good for spectacular coastal paintings and this show is no different. In Indiantown Harbor, Old Saybrook, Stannard composes a picture perfect view of the salt marsh, complete with osprey nest, as it stretches to meet Long Island Sound's horizon. In Autumn Shore, Munson takes up her pallet knife and details a salt marsh at the exact moment when its land becomes the Sound's water.
This is a soft and peaceful exhibit that I imagine will bring a sense of quiet reflection to those who opt to visit, for on the walls of the Sylvan Gallery, the human form and the environment it inhabits engage in a Timeless dance of beauty.