The surfaces of the still life objects enjoy a subtle and sophisticated rendering, similarly to the flowers. However, while the petals evince a more or less two dimensional representation, the fruits imitate spherical three dimensional forms; the illusion of three dimensionality relies heavily upon light and shade manipulation, only in global rather than local terms. Here the artist’s technique of handling light and shade finds its full expression, creating full-bodied forms; the viewer is encouraged not only to “touch” the skin of the lemons, pomegranates and Brussels sprouts but also to “feel” their weight.
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SINH is a French born artist now living in California, USA. She paints flowers and still life and publishes her work on her blog and website. SINH’s oeuvre displays a fascinating quality I now believe to be characteristic of painters who focus on only one or two themes: a consistent and notable change in style, from graphic to painterly in this case. We often read in art monographs how during decades of work an artist’s brushwork gradually grows more “loose and confident.” This is exactly what is happening here, only faster, because the theme’s minimalism allows for a rapid style evolution. To more fully experience the extent of this stylistic shift, I would suggest examining everything on SINH’s blog, following the chronological order. In today’s review I would like to talk about the artist’s latest florals.
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