‘Observations’ of nature blend realistic, abstract
STILLWATER — An artist known for realistic forest landscapes is more abstract — but preserves the tie with nature — in a new show in Stillwater.
The artist is Oklahoma State University professor emeritus Dean Bloodgood, who is in a two-man exhibit with Lawton artist Jay Bonifield.
Their “Observations” exhibit runs through April 22 at Modella Gallery, 721 S Main, in Stillwater’s downtown historic district.
“Angostura Trail,” a 1999 oil of tall, pale-trunked trees in a dark forest, makes a good reference point for Bloodgood’s more abstract recent work.
Another is provided by a 2007 oil of understated “Fall” light and color, seen through a magnificent stand of dark yellow, deep green and bronze-red trees.
Blending realistic and abstract elements well is Bloodgood’s vertical, almost vertiginous 2004 aerial view of the “trickle down” of New Mexico mountain river water.
But it is oils such as “Understory” and “Chinkapin,” in which the tops and bottoms of trees are cut off, that best point the way to Bloodgood’s more abstract work.
A “Thicket” of dark reddish-brown, almost purple trunks, appears to float, unmoored, in front of pale green and vivid orange dabs of paint, in his work of that title.
Deeper hued, more autumnal tree trunks seem to both surround and block our way, as we look for “The Dog’s Trail,” in a superb 2010 acrylic canvas by Bloodgood.
Tiny, dark green falling leaves — arbitrary and abstract — in the pink and yellow-green background behind trees, help Bloodgood to lyrically evoke “Early Summer” in a 2008 oil.
Supplying a nice contrast to Stillwater artist Bloodgood’s large canvasses are six small, 6-by-8-inch oils on metal, of which “Bulldozed Cedars,” may be the most memorable.
More abstract to begin with, rhythmic, rich in color, and very eye-catching, are the
acrylic canvases of Lawton artist and 1967 OSU graduate Bonifield.
One can almost hear, as well as see, the curving, lyrical lines that tie together the cantaloupe orange and lime green color scheme of Bonifield’s “Behold Voices,” for example.
Sudden swirls of color and line also greatly enrich “This Firmament,” and one can almost feel green blades of grass turning “Into Lawn,” in two more Bonifield works.
Abstract, yet more recognizably landscape-like, and radiantly refracted, are Bonifield’s “My Hill,” and “New Fields.”
The two-person show is highly recommended in its run at the Stillwater gallery.