Phyllis Davidson’s collection “Shelf
Life” consists of oil on canvas paintings that have a striking sense of
realism. From across the room most of her works appear to be three dimensional,
shelves supporting their array of dust collectors, dolls, and general
knick-knacks. Objects range from contemporary to antique, easily acquired to utterly
unique. These groupings are not just another stroll down still life lane, and
require more than just a superfluous glance. Strong undertones of dark humor
can be sensed in all pieces, and a majority of them are more than just slightly
naughty.
In “Jane Be Good” (seen below) there are examples
of both. Amongst an array of toys are three female dolls, all different, each
placed with her legs spread wide, and a male figure reacting to them in
different ways. This painting not only uses the American idolization of femininity
in the name, but also with the imagery of Eve, and Little Red Riding Hood. A
few of the images Davidson chooses may be slightly off putting for some (a Buddha
with a forehead elongated to phallic proportion, an anatomically correct sock
monkey doll), but it appears that she may be using these as tools to a greater
purpose. Making so many objects that we consider utterly innocent and common
place shocking or graphic, seems to be a manner of humor, forcing us to not
take some of the things we prize so seriously. Davidson might be trying to hit a
deeper note though, emphasizing that even the straight forward things in life (a
Madonna, or book of Mother Goose Tales) is not as one dimensional as we
presume, reminding us that that these icons have a past all their own, both
light and dark.
“The Afterworks” is the much more
family friendly, light hearted section of this show. Douglas Sutherland’s oil on panel collection
consists mostly of small studies in realistic still life style. While Davidson
focuses on the larger picture, Sutherland crops the scope of his subjects with
a keen eye for composition. His subject manner leans more toward the spiritual
and matters of the heart. Works such as “Sue” and “Justin” stand out as
photographic realism of the artist’s subjects are placed in a setting more
commonly seen in religious iconology, with a halo framing the head, and an
impressively detailed backdrop.
The most impressive piece in
Sutherland’s collection is easily “Another Venus Cupid Folly and Time” (seen above). Here we
see a brightly striped curtain tied back to display a strange macabre scene of
objects. This painting is done with flawless shadows, making it appear to be
just within our grasp. The hues of the curtain highlight and accentuate the painting’s
subjects, so that nothing seems out of place, and yet the reasoning behind the
setting itself in still a mystery. It is clear from seeing the collection as a
whole in its progressive order, that the smaller works are the things that
inspire Sutherland to create his master works such as “Another Venus Cupid
Folly and Time.” These small but striking paintings are a look more into the
personal life and mind of the artist in a refreshing twist on the classic still
life formula.
The opportunity to see “Magic
Realism” is worth the drive out to the CSUCI campus, and any student who misses
it is missing out. We can all use the giggle or shock that will come from viewing
the surprisingly dirty sophistication of “Shelf Life”, and art lovers with a
soft spot for still life will find “The Afterworks” a refreshing take on the
old standards. The show opened September 1st in the Napa Hall Gallery of CSUCI and
will be running through until the end of the month. So go ahead, poke around
someone else’s shelves, the artists are inviting you in.
http://art.csuci.edu/gallery/artgallery.html
http://www.phyllisdavidson.com/index.html
