Artist: Abbey Ryan (All)
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Artwork Details
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Description"Still Life with South Korean Bowl with Asian Pears" (2017)by Abbey Ryan (ryanstudio.blogspot.com) 9 × 12 in., oil on linen on a thick (3/8 in.) panel Now this painting is an example of why I collect and support Ms. Ryan. I do not think there is a painter out there who can capture a classic mood, space, texture, and tone of worldly objects the way that she can. I sometimes think what she is able to do is to hit the “uncanny valley” as it applies to painting. She is clearly not in the realm of the photo-realist painters whose work can look like pictures of plastic objects; but there is not a lick of impressionism here, either. You know it is a painting, but it includes a possibly discomforting reality at the same time. That notion of being simultaneously opposite opens an interesting window onto all art that is famously associated with Magritte’s sense of surrealism. In Magritte’s “Treachery of Images,” with the inscription “this is not a pipe” written onto the canvas, it does not negate the pipe completely, despite one of Magritte’s favorite responses to people’s upset: “you think that’s a pipe, well you’re going to have a hard time filling it with tobacco.” (something like that) More to the point, perhaps, and I have not seen this written anywhere but it might not be a new thought at all: the surrealists were growing up in the same era as the development of quantum mechanics, and in every respect seeing the results from the double-slit experiment on the interference patterns of light and declaring “this is not a particle” created the exam same surrealistic tension in the science community that “this is not a pipe” created in the art community. Moreover! Schrödinger’s declaration that the cat is both alive and dead until you act upon it may have some bearing on Magritte. Magritte’s pipe both is and is not a pipe, simultaneously, until you try to act upon it to differentiate its reality from its representationalism. This issue is getting more relevant today as representational reality becomes more ‘virtual’ by adding 3D and tactile components. You might be able to stuff virtual tobacco into Magritte’s virtual pipe while wearing your headset, and one day you might even get some satisfaction from puffing on it, but you’ll not develop the throat cancer. If the key to understanding Magritte’s surrealism is that his pipe both is and is not a pipe simultaneously, precisely because the image itself is anchored in our sense of realism, then don’t Abbey’s pears accomplish this to a perhaps even greater degree? Perhaps it is the surrealism in these paintings that I am attracted to. You can dismiss the impressionistic easily enough as a cartoon, and the photo-realistic painters are (I would argue) as easily dismissed because you can readily dissociate them from reality. Hence my comment about these paintings sitting in the uncanny valley – both dead and alive, like Schrödinger’s cat, but outside of the box. Well, there’s a thought for you: “quantum surrealism” from the art side of things. Social/Sharing |
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