The discrepancy between dark palette and light mood creates an effect of surprise and subsequently suspense. In these greyhound paintings this stylistic feature (of mood and color counterpoise) finds a more comic than ironic expression. Indeed sometime I get the feeling the artist fully enjoyed and indulged herself painting these subjects — so unstrained looks her technique. The purpose here is to entertain — but the painter doesn’t limit herself to portrayals — she creates allusions and personifications, through visual means (the halos) or textual (the titles, which suggest human activity), stirring the viewer’s imagination. Perhaps the quiet temperament of the breed requires a more keen action from the owner, or the artistic “owner” of the subject, meaning the painter, of course.
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This series enthrall me for what seems like an intentional obstruction and defocussing. Some of the grand pianos appear to float on a floor of haze, others are about to sink in waves of light. Either way, air and light, made conspicuously visible, act as a kind of a plate that presents the main dish, the musical instrument itself. And that basically means, to mix the metaphors, that the music is intended to be consumed with the atmosphere. Furthermore, by contrasting hard surfaces (such as the black lid) with volatile substances, the artist intensifies the illusion of space, and of a three dimensional setting in general. The paintings shroud the audience in a cloud of mist; rhythm — or painterly music — keeps the viewers occupied in the process.
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Sandra Flood is a self-taught artist living and working in the USA. She paints in a variety of genres; her figurative, abstract, still life and landscape pieces may be seen on her website and blog. Several stylistic features reminiscent of Edgar Degas, a proclaimed influence, may be traced in her artwork — but always filtered through a distinctly personal interpretation. Her color is darker on the one hand, but less earnest on the other: one of the most peculiar qualities of her work is the coexistence of a gloomy palette with an ironic mood. This seeming mild paradox makes for an exciting viewing; though slightly disconcerting at first, it is particularly satisfying for a somewhat jaded audience. Sandra’s work is different, it’s an acquired taste, but the effort is worth it.
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