What fascinates me about Robin Neudorfer’s trees is the co-existence of solidity and randomness; how the trunks and the branches intertwine in seemingly chaotic patterns yet still evoke a sense of stability. I think that one can safely assume that the artist has found a special channel of communication with the trees — the ability to illustrate them in full complexity testifies to how smooth and resonant that communication may be. Each one conceals a personal tale and owns a character. The transposition from the auxiliary status of a landscape prop to the role of a protagonist in the center of the stage is made via a believable story: remains of a broken fence in the background, a bench or a stone — they all linked people and, the trees, as quiet witnesses, now retell the past.
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These grainy art pieces display intense intimacy and impress with elaborate compositions. The lingering effect I tried to describe in the previous review returns, but with a twist: the gray, black and white configuration alludes more to film than to outdoor, direct landscape representation. There are additional features that consolidate this interpretative direction. The scenes are unusually close to the viewer, and it may seem as if we have been brought there by slow and deliberate camera zooming; the images we see project moments captured when the zooming stopped. Framing is the consequent feature — it is actually quite chaotic, even random, as if in this niche of “camera work” the cinematographer was given a free hand.
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Robin Neudorfer is an American artist who paints landscapes, interior scenes and still life, all using various media and surface materials. Online, she exhibits her artwork on her website and blog.
The most impressive quality of Robin Neudorfer’s artwork is also the most difficult one to pinpoint. Some of her landscapes surge before the viewer in waves of color while others arrest with a net of strong vertical lines, not unlike prison bars. There are static, fixed compositions, but then there are dance-like and highly rhythmic arrangements. Some describe intimate, even humble mise en scenes while others capture vast, soaring scenery… Perhaps the best way to try would be not to limit oneself to just one stylistic or generic feature; indeed, that quality appears to consist of several components, which may combine or split off at the will of the artist’s brush.
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