These winter landscapes, similarly to the river paintings, are marked with calm that seems to emanate from inner, deeper resources. If the latter encouraged to envision underwater currents, the former appear to conceal sources of quiet energy under the ground — or under the snow, as if in hibernation. I think that this impalpable illusion is the result of the effortless transformation of color harmony into clear, breathing atmosphere. There are few colors here: white, pale brown, pale blue and some shades of black; the general low to neutral temperature of the palette correlates with the season the colors depict. The white snow binds the blues and the browns as an intermediary that simultaneously plays the part of the dominant color. The overall harmony and economy create that special mood of stillness, which lies in wait for the viewers, to pass on some of that hidden energy.
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The decorative association in these bright, warm paintings is so strong that I think about white dresses bedecked with orange spots (or flowers). Incidentally, these series depict autumn, when nature changes attires — to something more austere — and the artist captures the lyricism of this languorous process. The contrast of the white and the orange is so striking as to almost scream from the canvas; it doesn’t, however — it sings instead. To ensure consonance, the artist provides space for additional colors, such as the green of the leaves and grass, the blue of the river and the brown of the mountains. The latter two produce a background harmony that supports the melody at the front.
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Takeyce Walter is an American artist who publishes her work online on her website and blog. She paints mostly landscapes, working on a variety of themes: rural and farming environment, seasonal changes and water surfaces (sea, rivers, lakes) under varying conditions. The paintings of rivers are the subject of today’s review.
It is difficult to write about these works — it is much easier to experience them. The scenes encourage listening rather than speaking; immobility instead of motion. The duplicate compositional conception of a water plane copying the sky and the trees leads to cogitations on the role of the artist. The mirroring water surface transfers “what it sees” onto its liquid canvas, producing the most believable illusion of three dimensionality. Isn’t it what the artist also strives to do? What is the purpose of a landscape artist — to copy nature as it is, or offer individual interpretations, such as the impressionists did? These paintings do not provide any clear answers; their merit lies in restating the questions.
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