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As a prelude to this post, I wrote a Gallery Spotlight about Dan Addington’s program, his history, and passion for encaustic wax. And Dan puts up with my loosey goosey writing style. So start there.
His next exhibit, opening Friday, June 4, amidst many of his neighbors having openings is Susan Kraut and Mark Perlman.
Break it down.
June 4 – July 6, 2010
Susan Kraut- New Paintings
Mark Perlman – Introduction of new work – Encaustic Paintings
Opening Reception: Friday night, June 4, 5-8pm
I recommend visiting Perlman’s site and watching the flash intro- five times. Drink your coffee, let your eyes relax, and then you’ll get it. It’s got a lot of energy, but it has moments where it gives you a break from the intensity, so there is a nice balance to it, and a glipse of all the stuff that’s physically embedded. For real detail you have to go to the gallery and put your nose right up to it.About Perlman:
The very nature of encaustic (a wax and pigment technique) enables Perlman to indulge in both its tactile qualities, as well the inherent open atmospheric qualities attained through many layers. These layered fields of saturated color result in the unmistakable luminosity and sensuality achieved by Perlman.
Mark Perlman is represented in hundreds of public and private collections throughout the world. He is the recipient of two National Endowment for the Arts grants, as well as numerous awards throughout the country. He has had solo exhibitions in Japan and Russia, as well as dozens of galleries throughout the United States.
First, here’s a great interview on Chicago Arts with Susan Kraut, and to rock the Casbah by quoting Alan Artner:
“The intensity and quality of light changes from piece to piece, as do the still-life subjects. That change, in turn, brings drama and melancholy … As with poets who thrive under the strictest verse forms, Kraut is an artist who succeeds by exercising the tightest control.”
But he’s right on suggesting the power of restrait, like someone in a movie trying not to cry, which turnes the audience into a group blubbering, whimpering sods.
Another nice quote from Susan Krut via the site:
While continuing to explore still life themes that have been present in her work for a few years, this recent series reveals a shift away from efforts to accurately record subtle landscape views over her object-laden window sill. Instead, we are invited to participate in her memory of the dramatic skies and clouds she witnessed during her Autumn stay in Oxford. Says Kraut, “Between the dark, purplish-grays of heavy, foreboding rain clouds, an intense orange beam of raking sunlight might sometimes break through, illuminating the still-life objects on my windowsills like spotlights on a theater stage. The light changed so quickly; I was forced more than ever to rely on my memory of how this light felt.
Also worthy of note is that she’s been a teacher at the School of the Art Institute for 25 years.