Tuesday, September 12, 2017

Marden, Brice (2000-2006). The Propitious Garden of Plane Image, Third Version [oil on linen]. © Brice Marden/Artists Rights Society, New York.

The primary element and background are both rendered in six colors of the rainbow across six canvases. The meandering strokes are placed and split from each other in a way that creates balance in each individual framework and when the six are arranged in any order. The simplicity of this series is very elegant. | 
A field of multi-colored strokes placed against a solid ground of relatively pure color is the subject of this series. While there is consistent movement and highly structured variety, balance characterizes this work (content).
Line does the heavy lifting. Six strokes of equal measure, one for each color of the rainbow (arguably sans indigo), meander and intertwine consistently across each canvas. The backgrounds are adjusted slightly in value to differentiate the strokes of the same color from those backgrounds.
The manner of the complicated network the strokes create result in the illusion of depth. This is primarily accomplished through elemental overlap and a sort of reverse-diminution that causes the tangles to appear close to each other.
The pace and manner of stroke direction changes are so even that approximate symmetry is nearly implied. The energy and constricted variety of the network would better be described as static asymmetry, in my opinion.
Calm and harmony are created through line measure, direction and character. The dimensions of color provide variety because of the wide range used. The specific color stops are consistent, however, underpinning the orderly tone of this work.
Elemental distribution is homogenous; eye movement is not tightly controlled. There are moments in the canvas series where shapes reveal themselves because of relatively extreme contrasts in background and line value; for example in the yellow and purple canvases.
Each canvas is “focused in” to the subject matter in a consistent manner, and one of the results is carefully considered cropping of certain elements. This is in opposition to the formal choice to “trap” or contain all movement within the picture plane.

I can only imagine how much effort it took to create six canvases with the same energy and elemental disbursement while simultaneously giving each scene a unique self-contained character (six years, apparently). Marden’s execution and the resulting creations are truly pleasing and masterful. 



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