Overview by Christopher J. Graham, visitor contributor
Diegesis, the most recent exhibition of labor by Julie Beauflis at Matthew Brown encompasses a suite of work and drawings. The identify Diegesis refers back to the time period used to explain a type of storytelling inside a movie, and at occasions can discuss with telling a narrative inside a narrative. Sparse atmospheric work within the present include delicate shapes paired with heat colours. The work evokes the desert panorama that Beauflis is impressed by, based on the gallery’s press launch, written by Lillian Davies.
Pool is a portray that options a big blue coloration area within the middle of the canvas that dominates the composition. The blue coloration area establishes a construction within the piece. The decrease third of the canvas has an olive to ultramarine transition that feels fairly design savvy. This transfer units the tone for Pool’s fundamental motion, the repetition of its central fan form in every third of the canvas, starting with an Agnes Pelton-esque pale blue fan on the backside of the canvas. The fan form turns into compressed because it rises, altering to an off white earlier than ascending additional to be squashed within the uppermost orange area. Transformation alongside familiarity in form is an important attribute of the work in Diegesis.
The stable coloration blocking of Pool makes it one thing of an outlier within the group of work. From right here, Beauflis switches to linen from Pool’s canvas. In Pure Figures, a determine resembling a whirligig floats above its shadow, which seems to even be a part of a water channel. The composition recollects Ana Mendieta’s 1976 Silueta Series. The floating determine’s shadow kind twists otherwise than its higher register counterpart. The artist’s embrace of the linen’s texture permits for the oil paint to soak within the floor. This permeation causes colours to flatten into the floor, exuding a mellowness stored constant in the remainder of the present.
Boomerang pairs divergent angles with stealthy horizontal zips. The tri-Earth tone coloration fields and slick shape-work give the viewer a number of planes to maneuver inside. The eponymous boomerang is a central character on this work. It strikes throughout the linen, later mangled in a cluttered wreck on the lefthand aspect of the portray. Matthew Brown’s press launch states Beauflis sees the boomerang as a mannequin of karma; what one places out on the earth will come again in some sense. That is seen most efficiently in Inside-Out Temple. The piece echoes the three-part ascension of Pool, with its tile form rising to the highest of the image airplane. Delicate line work on the lefthand aspect contrasts with flattened fields of coloration stacked in direction of one other whirligig form hovering over the bottom.
The colours of Inside-Out Temple are heat and welcoming. The horizontal stacking of burgundy, grey, inexperienced, yellow, and eventually blue give the viewer a shift in perspective. The viewer has the choice to see the opposite summary shapes within the work from the vantage level of every coloration void-space. Metaphorically, the viewer participates within the altering shapes of the work. Every transformation provides a definite perspective of the portray.
Opposite to traditional thought, the bottom in Beauflis’s work, that’s–the decrease part of a horizontal division doesn’t really feel “grounding” for a viewer in any respect. As an alternative, the horizontal division that often represents terra firma promotes the notion of an enormous abyss.
This notion of the abyss is most evident in Dioramas. The portray’s deep blue pushes the void area additional again into the linen. From there, the blue is damaged up by a collection of diagonal zips that cumulate in a kind that takes an eighth-note form on the backside of the canvas. The form is stuffed with Prussian blue, with its chilly chromatic high quality, provides technique to the void area once more within the portray.
Dioramas borrows the whirligig form from Inside Out-Temple and Pure Figures. Now a transparent reoccurring determine, its presence is so slight right here it might virtually go unnoticed. It transitions from a type of pictorial protagonist to a supportive roll in opposition to the opposite shapes. A smaller work, Solarium exudes a harsh pink void set in opposition to a purple kind. Its intense colours fill me with the type of dread present in a Phillip Okay. Dick novel.
Beauflis’ drawings vaguely recall the work of cartoonist Chuck Jones. The drawings included within the present reveal elements of Beauflis’ composition course of. The shapes crafted within the drawings actually develop into themselves in her work. On this sense, the title Diegesis is an apt identify for a physique of labor dealing in characters acquainted to the artist, and taking in a number of work to the viewer as nicely. Quickly the viewer notices the whirligig form in lots of work, and the boomerang described beforehand returns in future works. Matthew Brown mentions within the press launch that that is the primary time Beaflis’ drawings have been explicitly included in an exhibition. This inclusion grants the viewer a boon within the type of a key to the artist’s work.
The slight angles and a focus to mild remind me of work by Eleanor Ray, the place delicate coloration work provides technique to light-filled panorama compositions. In Beauflis’ case, the colour blocking and shape-making counsel a pictorial hierarchy with figures that resemble Eero Saarinen architectural sketches. Using the inherent heat of ochres, and terra vert, Beauflis can echo essentially the most excessive elements of Googie designs with out satirizing them or changing into campy.
What Julie Beauflis achieves in Diegesis is a centered effort in making compositions along with her acquainted kinds. The outcome evades Palm Desert kitsch and as a substitute presents an abundance of sincerity.