I have recently finished reading Elena Ferrante’s “Neapolitan Quartet” – which I thought was brilliant. As I progressed through the four novel set, which makes for a great summer read, I continually felt that I was experiencing the streets, the open windows, the smells of food, days at the beach, cramped apartments, gatherings and other interactions between the characters. Taking a step back I was intrigued at how something as simple as “text” – strings of symbols, concatenated or spaced – could conjure a fully fleshed out albeit imaginary world. The act of reading Ferrante created a flow; text became images, a fabric of sorts was sewn and stretched across my imagination. I was delighted to find out that the Latin for “fabric” is textum. Texts can create paintings.
The opposite, of course, can occur. We can look at a painting or work of art and “read” it, creating a “text” of sorts. Symbols, signs, colour, forms and other stimuli create associations and messages that reach out to confront our gaze. Sometimes the story is robust and coherent and other times it is a rough assemblage of ideas, sometimes more like sentences, often just a few words or a notion. Sometimes art presents us with a blank page and it remains unwritten, unread.
The National Gallery in London breaks down the process of reading paintings as follows:
“Reading a painting is similar to reading a book:
- The reader decodes symbols to establish meaning
- The reader uses inference and deduction (e.g. body language) to deepen understanding
- A reader’s previous knowledge and experience affects their personal response”
Memory of course plays a role, intimately tied to experience, and our reading of a painting’s text ends up being diagnostic – speaking about who we are, what some of our experiences have been, what our “world views” may be.
My first solo show at Lee Contemporary Art, in Orillia, this summer, is a retrospective of sorts, a chance to look back in time and allow viewers to read multiple texts at the same time. Or, in other words, to glance at a group of paintings or texts and ask : Is there an overarching or meta-narrative? What are the common themes?
Of course, telling someone abut a book or a painting is often both a dull and corrupting process. And yet people who visit galleries often want to know “What does this picture mean?”, “What was the artist thinking or trying to achieve?”. So, to accompany this exhibition I thought perhaps a balanced approach might work – I would say something minimal about these works – perhaps just words even, and allow the reader and/or viewer to assemble the text. These words are beneath each of the paintings above, and are intended to provide points of reflection, threads form which larger stories may be woven. These paintings, and others, will be included in “Landscapes : Reading and Memory”.
These paintings serve as a gathering of texts. From such gatherings a library of sorts arises, an edifice that is created by both the artist and those that gaze upon art. A place where both can dwell.
Please feel free to comment or to get in touch with me regarding this post. My exhibition information is as follows:
LANDSCAPES: READING AND MEMORY
August 10 – September 2, 2017
Upper Level, 5 Peter St. S.,
Orillia, ON, L3V 5A8
(705 ) 331-3145
Hours: Thursday, Friday, Saturday, 10 – 4