Unmoored/ Marilyn Gold’s recent Paintings
Marilyn Gold’s recent paintings converse with a vast pictorial family. Influences and relations abound, and like a large family, a broad selection of interactions and intersections are evident. From the most subtle to the deeply profound, she is immersed in, while concurrently conducting, a rich and fertile discourse with a host of past and present painters.
There is no anxiety of influence in these paintings. Nor are there superficial quotations, stylistic or other. While not shying away from rich associative connections, as a painter and as an artist, she operates
She does not seek a “ signature style” for
Operating in a pictorial syntax that is broadly associated, or simplistically identified with the Abstract Expressionist genre in its myriad formations and permutations, she has developed a particular vernacular wherein conflicting and opposing formations not only co-exist, but also form a distinct painterly presence.
Hue and tone, edge and diffusion, line and area, surface and depth, Gold manages to imbue her paintings with a vast vocabulary of mark making that straddles seemingly oppositional and complex dispositions that cohere into a rich, suggestive, and particular pictorial language.
And perhaps unbeknownst to her, she activates and engages the viewer in ways distinct and profound.
Differently than paintings where mark making is an explicit subject of the work, in Gold’s painting, mark making transforms the viewer into a spectator.
One experiences the forming marks as they seemingly happen. These are not static paintings. A sense of unfolding, a metaphoric movement is implicit in her formations. Her mark making is process in action, while having already taken its supposed static place amongst all other painterly activity on the surface and in the field.
Yet this mark making does not superficially represent itself as such, but rather, is organic and harmonious within the pictorial action.
Even that most fixed and regular of pictorial principles -the
This seemingly unfixed and
This work is imbued with that most fleeting of achievements. Managing to be evocative while evading incoherence, it suspends real time and engages us in its own world.
Free of novelty and absent irony or
Eyal Danieli 2016