Martha, I still Love You. by Janet Norris
“Living dangerously,” Janet Norris at Far Out Gallery 3004 Taraval @ 40th Avenue This show opened on February 4 and will be up until Saturday, February 25, 2017. The gallery is open Thursday - Saturday 12 - 6 pm, or by appointment. http://www.faroutgallery.com/new-page/
It is not enough just to live. One must also take risks, like becoming
something of a Surrealist after years of work that was more in the conceptual
art/modernist mode. I thought I might
get your attention with the word “Surrealist” since Surrealism and Dadaism seem
very much back in fashion: for example, the current show at the Cantor Museum
at Stanford University. And Norris definitely
has surprising juxtapositions of objects:
housing interiors and woodsy scenes, to name one frequent type. Magritte is the appropriate reference for a
painting like “I go there,” which features an early 20th century
chair in the middle of a birch tree woods.
But that was then (1920s-40s), and this is now. Norris is really dealing
with the way we live now, in an increasingly dangerous world….but living still. In this show, for example, there are a few
paintings dealing with one very contemporary issue related to our world: the plight of refuges. The dominant images in each of these are
taken from the many shots in newspapers and on the web of people from Syria,
Iraq and many other countries, trying to find refuge. My favorite of these is “The Refuges #1,” where
a small group furtively moves forward against a simple, but strongly laid-out,
landscape, perhaps in the early morning.
[Dates of painting are not listed, but most of the paintings in this
show are from the last three years.]
Somewhat more characteristic of her recent work, but still
with reference to modern day terrors, is “Homs Lullaby.” Norris often divides up her paintings so that
there is a panel on the right painted in a different style and space from the
rest of the painting. The right panel
comments on the rest. In this case, 4/5ths
of the painting is a bucolic river scene with an empty row-boat in the
center. Dynamic brush strokes render the
trees a little hairy though, almost Rastafarian. The scene at the right might well be an abstraction
of the rubble that remains of cities in Syria.
The calm scene on the left can be a kind of balm for the horror. Or the scene of destruction on the right can
be seen as a corrective for our desire to escape present reality.
Nature and humanity’s relation to it is a frequent subject
of Norris’s acrylics. Often there is reference
to environmental destruction. A simple
yet disturbing painting is “Waiting in The Wild,” which depicts a horse, standing
forlorn in the shallows of a vast sea. (Many of Norris’s paintings are vaguely
symbolic: is the horse us?) Another painting, “Come from Far,” features a
horse again, this time in a windowed room, although also standing in a field,
and haunted by human figures and watching and waiting. One thinks here of Edvard Munch or Peter
Doig, influences she mentions in her artist’s statement. At other times, the presence of nature is
simply meant to be evocative of an Edenic world other than our own: for example
in “A River Comes In.” [I think this last one was not in the show, however.]
A favorite of mine is “Fear of Fire.” It features three wolves facing a small
river, in the woods, in greens and blue, and yet hovering above everything
turns red and yellow – firelike. In the
right panel is a two storied building, not in the same space but somewhere else:
a figure seems comfortably moving about
behind a window. I like it mostly
because of the harmonies and balances: for example the balance between Norris’s
Fauvist handling of trees and the Ashcan School look of the urban part on the
right. “Martha, I Still Love You, After a Tom Waits Song,” references fire as
well, this time a literal blaze on the horizon, and this time posed against a
panel on the right which contains a romantic dancing couple.
Another painting, “Losing It,” features a realistically
rendered bed (I love Norris’s furniture).
The bed is half nestled in woods of birch trees and half in a bedroom
with a picture on the wall; and also juxtaposed against a mirror which windows onto
a woman doing something outside, possibly chopping wood. This painting re-asserts Norris’s interest in
domestic life, in the manner of Bonnard, and nature together. Speaking of taking risks (successfully),
notice the strange circular patterns in the rug, and the gash of orange for a curtain.
“Once Was” also takes risks with hues, reminding me a bit of
Vlaminck. I like the contrasts between
the reds on the left, the purples in the upper skies, the orange-ish yellow
above the horizon line, and the slash of blue for a tree in the foreground…again
with a panel on the right representing a rickety house in its own space. “Remembering Past Times” is another part-nostalgic
look at nature with two small white figures on the right that remind of Matisse’s
“Le Bonheur de Vivre.” But what
dominates the space is the radical transforming of trees from color to stark
blacks and whites in their upper halves…it is all nature, but a bit post-apocalypse.
This relates to another painting, “The Mother’s Mother,” in which
leafless trees are rendered in ghostly browns over another rapidly-moving
stream. The right panel almost in the
same space, but containing a more human scene of a wrapped older woman facing
us.
I also very much like “The Ancient Empire.” This time the leafless trees (the foreground
ones topped as well) with emaciated gashes on the canvas set against a bleak
background remind me of Anselm Kiefer and Clifford Still. The much smaller right panel is a strong
contrast since it is teaming with life.
As we have seen, Norris, who originally came from Iowa,
constantly revisits her past while exploring her present. Over the last couple years she has showed
widely in the North Bay Area at such galleries as GearBox Gallery in Oakland
and Mythos Gallery in Berkeley. She
first started exhibiting in 1976 after receiving a BA and Master of Arts at San
Jose State. One of her well-known teachers was Tony May. She was also a founding member of Works
Gallery in San Jose. We look forward to
many such future shows.
You can see images of many of these paintings at the gallery
and also arthttp://www.janetnorrisartworks.com/slides.html
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