Larry
Joseph Homolka, Above the Water, Yucatan (1989). Oil on Canvas (46”
x52”)
Homolka's
large oil on canvas, portrays a variety of linear forms. These linear
forms represent a spectrum of structure ranging from steadfast, heavy
lines to linear shapes whose forms are created by the parameters
defined by other figures. It appears as if some lines are more
deliberately placed than others.Brush stroke aids in this idea by
interacting with linear formations. Some line formations are
unmistakably structured and defined; whereas some lines are solely
dependent on the created illusion by the varying tints that the
artist's varying brush strokes establish. Homolka utilizes a medley
of varying hues which, combined with the array of linear formations,
which create an interesting depth to the piece. Spatial boundaries
are explored through the fluid movement of colors and linear size.
For example, the prominent vertical black rectangle (a focal point of
the piece) creates a window into another dimension. Its slanted
portrayal allows the viewer to shift from a flat perspective into an
additive illusion of a third dimension. Spatial contrast is also
created through hues. Homolka juxtaposes varying blue values in the
bottom right of the piece. This color contrast creates a boundary
which adds another layer of depth as the values play off one another.
The use of tint also creates almost three dimensional-like areas
where a slightly organic depth is hinted at.
The
use of perspective in color in this abstracted form could potentially
overwhelm the viewer, given the scale of the piece. However, the work
is located in a wide, open hallway on the first floor of Bucksbaum.
The opposite wall is paneled with windows which increases the
luminosity of the piece. The eye harmoniously follows the piece, in
part due to the continuity of the lines merging into one another.
When staring at the focal point (horizontal, central), I begin to see
depths within depths which is an interesting effect that mimics what
I feel when I looking down from a high vantage point. I see
dimensions lose distinctness, merge amongst themselves, and
additionally new dimensions materialize.
Without
a title the viewer would have a difficult time deciphering the image.
Thus, the title is an important element of the piece. It elucidates
what is actually being displayed by giving the abstraction a
contextual location and perspective. The colors emulate a sense of
water (perhaps the sea?), sand, cliffs, and perhaps a variety of
common flora and fauna. After reading the title and then looking at
the piece, I can relate the metaphysical elements into recognizable
scenery. When I examine the piece I see a landscape containing a body
of water in the distance with perhaps cliffs or maybe street scene
with alleyways in the forefront. Of course, with this style of
artwork, much room is left for various interpretations.
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