ARTISTS
Robin Mitchell: Spellbound
Spellbound is Robin Mitchell鈥檚 eighth solo exhibition at Craig Krull Gallery. An exploratory path of evolving imagery continues to unfurl and expand throughout those distinct but interconnected bodies of work. Mitchell鈥檚 first exhibition at CKG entitled, Code Paintings was reviewed for Art in America in 2007 by Constance Mallinson. Likening the shapes in her gouache paintings to Egyptian hieroglyphics, mandalas and 50鈥檚 design motifs, Mallinson concluded that Mitchell鈥檚 鈥渉eightened sense of the spirit and rhythms in nature is heir to Arthur Dove鈥檚 and Charles Burchfield鈥檚 investigations of a life force beyond mere appearances.鈥� Subsequent bodies of her work appear to be moving closer and closer to almost microscopic views of these forms. The current work suggests vibrant atomic particles in radiating patterns, visually expanding from the center to become, as Mitchell states, 鈥渁n expressive physical representation of energy and emanations.鈥� She thinks of that central image as 鈥渢he exuberant self.鈥� Her work demonstrates that gestures and brushstrokes can be abstract, representational, and referential all at the same time, evoking the tangible and the ineffable, embracing a spiritual essence.
Spellbound is Robin Mitchell鈥檚 eighth solo exhibition at Craig Krull Gallery. An exploratory path of evolving imagery continues to unfurl and expand throughout those distinct but interconnected bodies of work. Mitchell鈥檚 first exhibition at CKG entitled, Code Paintings was reviewed for Art in America in 2007 by Constance Mallinson. Likening the shapes in her gouache paintings to Egyptian hieroglyphics, mandalas and 50鈥檚 design motifs, Mallinson concluded that Mitchell鈥檚 鈥渉eightened sense of the spirit and rhythms in nature is heir to Arthur Dove鈥檚 and Charles Burchfield鈥檚 investigations of a life force beyond mere appearances.鈥� Subsequent bodies of her work appear to be moving closer and closer to almost microscopic views of these forms. The current work suggests vibrant atomic particles in radiating patterns, visually expanding from the center to become, as Mitchell states, 鈥渁n expressive physical representation of energy and emanations.鈥� She thinks of that central image as 鈥渢he exuberant self.鈥� Her work demonstrates that gestures and brushstrokes can be abstract, representational, and referential all at the same time, evoking the tangible and the ineffable, embracing a spiritual essence.
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