Painter Teresa Dunn has her new exhibition Motherload on view until June 18 at the First Street Gallery in New York. Her current show depicts recent oil paintings and mixed media works on paper and canvas. For this exhibition, the artist who masters the Renaissance school of nature and human portraiture to the fullest forms has adopted new richness of palette. Her repertoire has gotten fuller, perhaps partially due to the size of the panels, paper and the use of triptychs, which allow larger developments and almost surgical dimensionality. Now the center is the body as tissues and palpable beats. In these new works, the body is joined with the amounts of vegetation, which makes the skin appear as fruitful foliage. Painter Teresa Dunn is making serious rising; she is represented by the Hooks-Epstein Galleries in Houston, Texas, and by Galerie l’Échaudé in Paris in France.
In an action packed painting there was a pause, when Teresa Dunn imagined communities within narrative landscapes full of thick Renaissance color and light. The water rose through the images, leaving behind people on their isolated islands, together, alone, breathing air, figuring the scenes of us existing on the planet. The scenes were almost apocalyptic, borrowing from Biblical and mythological imageries of human drama and emotion. And it all made sense, as her paintings were influenced by the Venetian school, especially by the works of its great master Titian. Drama and poesia in the same theme, when color and light create unparalleled resonance.
Now, the next pause was different. Teresa became a mother. From artistic point of view, the dreaming in her works became increasingly about the simultaneously occurring events. These happenings were seemingly not relating, but arbitrarily meeting in the same future. This time the fragments of narration made sense as islands of vegetation. The theme of water from previous paintings had changed into the vegetation. Or the water had become an overflow, which got mixed into and within the vegetation becoming moisture, as palpable like a touch of mist on the skin. An underpinning, a reflection on canvas. Like her inspiration of the magical realism, Colombian novelist Gabriel García Márquez imagined fog. Can you see distances through the fog. Or how a distant place somewhere far resonates here in this place. How everything connects and makes a reason, but not as univocality. The story is about bringing together universal fragility of existence and our mortality.
In the new works, the colors have become evidentially subtler with more visible brushstrokes, with circular patterns of movement. The palette is lighter, and the narration seems to be settled in the background in the midst of a natural flow and overgrow of things; more than objects. The natural life and still life has found a lingering attachment inside the palette, showing that humans as actors play no longer the central role. In a triptych ‘Interlaced’ (2015), a loose tire rolls through the canvas, as if being a sign of an uncontrolled human motion. In another triptych, ‘Slippage’ (2015), a woman is growing out of a bush representing the nature herself and our origin. In this triptych, the panels together seem to be cumulating as a force, which becomes a wave. A water splash is running from one panel to the other in ‘Slippage’. Teresa Dunn’s triptych form borrows from the Renaissance art. In her paintings, the occurring shapes are creating new terms to reinvent the classic.
Artist website: http://www.teresa-dunn.com
FIRST STREET GALLERY: http://www.firststreetgallery.org/
526 West 26th Street, Suite 209, New York
Gallery hours: 11 am – 6 pm, Tuesday through Saturday