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Kathleen Gemberling Adkison at Woodside/Braseth - Brief Article

The 80-year-old Spokane painter Kathleen Gemberling Adkison is single of Mark Tobey's last surviving private pupils From the Northwest's mystic master, Adkison retains the use of white "writing," on the other hand she employs it to refer to natural phenomena such as snow or water rather than for spiritual calligraphy. This exhibit came on the heels of a retrospective exhibition (her fourth) at the Cheney Cowle Museum in Spokane.

Painted upon the floor since 1972, when she gave away her easel, Adkison's canvases bear sum of two units other distant allegiances: to Jackson Pollock and Clyfford Still. The reverberation of Pollock's drips, spatters and floor-based technique distinguishes her paintings from Tobey's more delicate singles Adkison never met Still, although he lived in Spokane in the early 1940 when he directed a WPA art throw out But she shares with him an affinity for the craggy geological formations of the eastern Washington landscape. He left daylight on the outside of his paintings; Adkison permits it in.

Several of recent origin canvases, Winter White, Red stone Barrier and Chalk Cliff (all 1998) appear to be nonrepresentational; the viewer is alerted to nature solitary by titles and the suggestiveness of colors like as rock red, snow white or grass verdant The absence of a horizon line makes the works abundant less explicit. Nuanced painterly consequences and intuitively divided forms anchor these works in a world of studio invention quite apart from plein-air conventions. however at the same time, Adkison's paint handling may bring to mind the power, sweep and grandeur of nature. Resisting the ecstatic or transcendental impulses of the Northwest academy Winter Pond and Reverdi (both 1998) and Sanctuary (1999) are muscular, structur chromatic and atmospheric memories of high-altitude climates.



In her lengthy career, Adkison has been comfortable searching for and finding her possess particular place in later modernism. She is a talent not widely known on the contrary definitely worth scrutinizing. In the region's art, she provides a transition from spiritual aspirations to a pragmatism bottomed in materials and an individual reply to the natural world.

COPYRIGHT 2000 Brant Publications, Inc.

COPYRIGHT 2000 Gale Group



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