Wednesday, April 1, 2009

Pleasant thoughts about Amy Pleasant

I want to take a moment to recognize the work of Amy Pleasant.  She just had a show that is no longer up, featuring drawings, paintings, and a site-specific wall installation at Jeff Bailey Gallery.

© Amy Pleasant


Now, if you know me personally what I'm about to say may confuse you, but to be honest between Mickalene Thomas, Raquib Shaw , and the heavily ornamented, and flamboyant stuff that's been surfacing all over the place I'm tired of looking at glitter and sparkles and rainbows. 

Come'on people, aren't we in a recession?  

Pleasants work is self reflective, quiet, and lovely, for lack of better words.  It's painted freely, but not without care.  


© Amy Pleasant

I think the main success is in her touch being as intimate as her subject matter.  (a kiss. a drip. embrace. echo of the pass of a brush)  Her work is stripped down to the bare bones, but doesn't leave me wanting any more.  The level of affection in the subject of her work isn't overly saccharin, but is still filled with warmth.

Maybe I'm partial to shit about love and compassion because I pass an egg every month, but as a human being I'm also partial to things which reflect the human experience.  Most people know what it's like to be held, and most people know what it's like to be kissed, and most people enjoy both of those things.  At the most basic human level Pleasants paintings put me in the same place a really great song does; a great misty nostalgia of pleasant past times.




3 comments:

  1. I'm making omelets! ^_^

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  2. Omeletes dont really take me to a great misty nostalgia of pleasant past times, but they do take me to the great gassy nastiness of putrid porta- potties. They're delicious though.

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  3. excellent, excellent entry. i agree with everything said there.

    a true artist uses a great deal of restraint, one reason that pieces that seem to be 'stripped down to the bare bones' are always the most impactful and poignant. Pleasant does this all without resorting to a cryptic or inaccessible final product, which is another thing that can be as annoying as glitter and rainbows (and, sadly, is just as prevalent as both of those things in the art world right now).

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