How Now Snarly Yow, an exhibition of new paintings by Albuquerque, New Mexico artist Raychael Stine will open with a reception for the artist at Eugene Binder 218 N. Highland Avenue in Marfa, Saturday October 7th from 9 to 11 pm.
Raychael Stine continues to deftly elude any possibility of formal definition in her new paintings. Using elusive amalgamations of representational and abstract imagery, she moves fluidly through uncharted territory with ease, her commanding use of slashing, broad, brushstroke combined with the courage to confront the daunting compositional “problems” she creates for herself, while coming up with innovative, flamboyant, unorthodox solutions that in turn create astounding results. The importance of openness and informality of her stylistic discoveries allow the viewer to share these discoveries as the paintings continue to reinvent themselves.
The immutable physicality of the painted surface seems at first to be at odds with the exuberant, wildly animates imagery that appears to be in constant motion. The discovery of loosely gestural brush strokes that coalesce into a dog’s ear, for example, move toward, and simultaneously from, any predefined resolution. The viewer is encouraged to be guided by the artists brush, through every passage of the painting, and by this process attain heightened perceptions and sensory awareness, much like the seeming whimsical behavior of dogs who are constantly in motion while continually moored in the present, populating her paintings and works on paper with frenetic energy paired with the depth of intuitive wisdom for which these creatures are revered.
Although they seem quite content to dwell in these mysterious environments, the figurative aspects of Stine’s paintings inhabit a world of oddly ethereal light sources and sequential, multiple perspectives that further distance them from any recognizable setting, be it interior or outdoors, the occasionally hint at a horizon line or architectural background (or in some cases, architectural foreground). Multiple, painted framing strategies within the same composition imply a vignette of “painting within a painting” an idea and imagery that enhances the invention of the artists own multiple vanishing points as being further contrarian.
It is ultimately the viewers of these paintings that may search for rigid categorization and carefully defined structure. However the real enjoyment of these paintings is the possibility to join the artist moving forward to create paintings that seem to reinvent themselves whenever they are viewed, perhaps taking the viewpoint of the subjects in the paintings who have an unfathomable, and immediate capacity for perception without listening for a command.