Art & Critique

Tracy Helgeson: Dark Blue Barn

Quite a complex composition unfolds before the viewer. Two of the most prominent elements from the artist’s arsenal spread on the panel: the barns and the trees; they interact dynamically, both in color and placement. I think that this piece can be divided into two acts, the first, the main one, happening in the foreground — it offers some friction and contrast, and the second, the low-key act that takes place in the background, and which absorbs at least some of the electricity generated in the front. To my mind, in the context of Tracy’s artwork as a whole, this painting conciliates two contradicting concepts (and that makes it more compelling). On the one hand, its composition is notably uncharacteristically crowded but, on the other hand, it speaks most eloquently about the characteristics of the artist’s style. To a critic, such a piece always presents a find and a must examine item.

There are three main color areas in the foreground (the two barns and the grove), each one representing a primary hue. Their triangular disposition also echoes the color wheel; however, the symbolism ensuing from this commonality is rather divisionary: a primary color cannot be split and somehow move closer to its counterpart — and these three components, though residing on a unifying surface, inherently oppose and repel each other. Yet their physical inclination towards each other defies this notion, and, in fact, implies the other direction of color interaction, that of mixing and creating new colors. I have no idea how I ended up in such a detached discussion. Well, maybe some idea: discussing Tracy’s work means talking about color first and foremost. Anyway, physical, almost intimate proximity between the three areas may imply complete blending and the emergence of a different hue.

In more pragmatic terms, the love-hate situation of the two buildings and the trees finds an outlet in the background, where another structure stands very close to a tree, in what seems like a peaceful coexistence. Physical proximity is further emphasized by that of color, as a single hue, of varying value unifies the whole scene. In a way, this background act represents a possible development of the primary act. Though distant, it holds its own, largely due to the assistance from the front, as the roofs and the lines of the tree crowns point towards it, and, the barns and the grove form a corridor that leads directly to it. Eventually, one common feature makes this piece harmonious: none of the described elements is visible in its full form — all of them are cut either by the edge of the panel or by the compositional neighbor. I think that this is an intentional shortcoming; an artistic device that marks all of them as interdependent — they become fully meaningful only in the context of the painting as a whole, where all components intertwine and complement each other to create a harmonious unity.

If you enjoyed this post, make sure you subscribe to my RSS feed!

Read Related Reviews:

• Tracy Helgeson: Fields
• Tracy Helgeson: A May Day
• Tracy Helgeson: Byzantine Blue Road
• Tracy Helgeson

This entry was posted on Monday, October 15th, 2007 at 7:38 pm and is filed under Daily/Frequent Painters, Tracy Helgeson. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.