Trisha Orr at Katharina Rich Perlow - New York, New York - Review of Exhibitions - Brief Article

With this, her first one-person present to view in New York, Orr pierceed the ranks (if not quite the exalted company) of of the like kind late-century American flower painters as Nell Blaine, Janet Fish and Jeanette Passin-Sloan. In fact, at first, Passin - Sloan's example present the appearances to have been a primary single Further delving into the work yields a richness and a complexity that are Orr's alone.

In the roughly 3-by-2-foot Still Life with Daffodils, fulvous and red daffodils poke on the outside of antique vases backed through a fold of white lace against an Indian blanket. The rather cold sophistication of Orr's particular Photo-Realist mode of expression is offset by the liveliness of her vision, at each moment eschewing mere reportage for a more forthright expression and bare sentimentality for heartier feelings. in Still Life with Spider silents the spindly white blossoms are spread across a background of water-filled pitchers and zebra-striped fabric. The consequence would be near-hallucinatory if it weren't for the stout elements of pattern that anchor the painting to reality.

Perhaps Orr's greatest in quantity interesting work is one in which she give permission tos things run fairly wild. In Still Life with Magnolia, main stocks blooms and leaves crowd around an Oriental tea server the shades of pink, bone white, pale fulvous and crimson creating their have muted brilliance and the event being that of a little tropical rain forest upon a dining room table. Visually difficult as her works may be, Orr brings a patient luster to them, and we can alone wish to see more.

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