'Object' of their obsession proves inspiring, Jeanne Claire van Ryzin,
Austin American Statesman, July 7, 2005.
… "But the real surprise in this exhibit is Gladys Poorte. Though she has chalked up just a few group shows, Poorte impresses with her imaginative paintings. Using armatures and fabric, she sets up miniature landscapes and populates them with toys, then renders the scenes on canvas using lush brushstrokes. Vaguely impressionistic, vaguely baroque, Poorte’s paintings are potent. They tease with their obscure stories and demand that you look –and then look again."
See www.dbermangallery.com for complete article.
Object, Rebecca S. Cohen, Artl!es, Summer 2005.
..."Gladys Poorte also arranges objects in unique ways; she then paints their picture. Poorte poses toys, tools, kitchen utensils, spools, etc. within contrived dioramas of textured fabrics. (Initially, I imagined the artist raiding her now-teenage sons’ toy boxes for the subjects in her paintings, but was surprised to find she has daughters rather than sons.)"
Poorte illumines each detail-every hill, dale and player-with a dramatic flare and the resolve of a Broadway set designer. She first selects an extreme vantage point, sometimes way above the clouds, sometimes bug-high in the grass gazing up at impossible barricades. She creates surreal, private worlds-mini landscapes with mountains, valleys and rushing streams.
There is a militaristic bent in some of Poorte’s scenarios; small but not so playful battles seem to be in progress. Invented waterways shimmer with light, while printed fabric hills and valleys project weight and an otherworldly presence. The viewer feels the heat of Poorte’s palette and the tension of her brushstrokes, as well as the visible discomfort of the tiny players on each improvised stage.”
See www.artlies.org for the complete article.
'Gladys Poorte and Naomi Schlinke', D. Berman Gallery, through Sept. 30, Nikki Moore, Austin Chronicle, September 8, 2006.
..."The artist's hand and eye are everywhere present, from the unique brush technique on the painted surface to the designation of form, space, and perceptual depth in the works themselves".
See www.austinchronicle.com for complete article.
Austin American Statesman, July 7, 2005.
… "But the real surprise in this exhibit is Gladys Poorte. Though she has chalked up just a few group shows, Poorte impresses with her imaginative paintings. Using armatures and fabric, she sets up miniature landscapes and populates them with toys, then renders the scenes on canvas using lush brushstrokes. Vaguely impressionistic, vaguely baroque, Poorte’s paintings are potent. They tease with their obscure stories and demand that you look –and then look again."
See www.dbermangallery.com for complete article.
Object, Rebecca S. Cohen, Artl!es, Summer 2005.
..."Gladys Poorte also arranges objects in unique ways; she then paints their picture. Poorte poses toys, tools, kitchen utensils, spools, etc. within contrived dioramas of textured fabrics. (Initially, I imagined the artist raiding her now-teenage sons’ toy boxes for the subjects in her paintings, but was surprised to find she has daughters rather than sons.)"
Poorte illumines each detail-every hill, dale and player-with a dramatic flare and the resolve of a Broadway set designer. She first selects an extreme vantage point, sometimes way above the clouds, sometimes bug-high in the grass gazing up at impossible barricades. She creates surreal, private worlds-mini landscapes with mountains, valleys and rushing streams.
There is a militaristic bent in some of Poorte’s scenarios; small but not so playful battles seem to be in progress. Invented waterways shimmer with light, while printed fabric hills and valleys project weight and an otherworldly presence. The viewer feels the heat of Poorte’s palette and the tension of her brushstrokes, as well as the visible discomfort of the tiny players on each improvised stage.”
See www.artlies.org for the complete article.
'Gladys Poorte and Naomi Schlinke', D. Berman Gallery, through Sept. 30, Nikki Moore, Austin Chronicle, September 8, 2006.
..."The artist's hand and eye are everywhere present, from the unique brush technique on the painted surface to the designation of form, space, and perceptual depth in the works themselves".
See www.austinchronicle.com for complete article.
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