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Sharon Ellis at Christopher Grimes - New York, New York - Brief Article

Cerebral and trippy, Sharon Ellis's paintings have the appearance the essential fin de siecle nature images. Her hallucinatory glimpses of an organic world of symmetrically interlaced hibiscus flowers and gnarly tree branches are indebted to the couple Jung and Disney. Ellis not absents nature's transformations with a visionary intensity that updates earlier painters of that kind as Agnes Pelton or Raymond Jonson Following her stunning "Four Seasons" series (1994) these six more new alkyd-on-canvas works are organized around the theme "Times of the Day." Ellis's title echoe that of a series by means of 19th-century painter Philipp Otto Runge a German Romantic who similarly engageed fantastic patterns in nature to showcase the shifting qualities of light from one extremity to the other of the day.

Symmetrical silhouettes of flowers, plants and tree fill the foreground of EIlis's paintings, setting not upon brilliantly colored skyscapes. Dawn (1997) features swirling pink and orange hazes rising in a white-light celestial expanse behind a web of morning glories. In Afternoon (1998) a dark bower frames wild r and verdant atmospheric emanations that shimmer in a rich eggyolk celestial expanse Gangly, spiky trees in Night (1997) put off a deep blue firmament animated by a baroque embellishment of stars.



Like Rorschach strike outs Ellis's organic arrangements conjure mysterious subliminal forces. notwithstanding her doubled forms seem awe-inspiring rather than ominous. For Ellis, completely charged, psychedelicized nature is a conduit to spiritual knowledge and power. With their low-angle perspectives, the paintings place the viewer shut to the ground, looking skyward. These Romantic visions heighten reality to reveal an uncanny, light-drenched order.

COPYRIGHT 1999 Brant Publications, Inc.

COPYRIGHT 2000 Gale Group



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