the invention of a new star (thicket)oil on canvas (25 in. X 21 in.)
the invention of a new star (for gelsy)(48 in. X 48 in.)
These paintings illustrate delicate preciousness, both in manner and palette. Thicket, in particular, achieves this by creating surface tension within the handling of the paint: the matte Pepto-Bismol magenta background corresponds to the layered, physical texture of the lighter, biomorphic cotton-candy pink. We are left to understand the idea of editing by the visual clues surrounding the central form, the curious black outline peaking around the edges, and again within the form itself. Dobbins is leaving behind traces of the paintings past, and the idea of the passage of time within the work itself.
The idea of "precious" apparent in this work in not only indicative in the scale, but how the paint itself is presented. Drips, bulges and surface quality contradict the clean lines, and reinforce how the gestural marks humanize the plastically sweet colors.
On the contrast, for gelsy, is of considerable difference of scale and subject contrary to the similar central forms and title. Gelsy, it seems, is a reaction to thicket in several ways. The first of which includes the more conventional standard of a large abstract painting, the second being the composition and color choice. The use of black in thicket teases the eye and challenges the senses, like a sexy La Perla slip under a frothy taffeta gown. In Gelsy, the use of black now consumes both the picture plane and monopolizes the spectrum of color. In fact the reverse happens, we are left only with a portion of Pepto Pink to inform the connection between the two paintings. However, this does not make gelsy less engaging, but unfortunately I am dealing with a pixelated copy. I would like to infer, nonetheless, that the surface is equally rich in flat color as it is in more playful areas. Gelsy, in affect, is a response to the precious scale and treatment of thicket, it is an over taking of senses. And, most irresistibly, is the idea of this growing, voluptuous, self-contained star.
The idea of "precious" apparent in this work in not only indicative in the scale, but how the paint itself is presented. Drips, bulges and surface quality contradict the clean lines, and reinforce how the gestural marks humanize the plastically sweet colors.
On the contrast, for gelsy, is of considerable difference of scale and subject contrary to the similar central forms and title. Gelsy, it seems, is a reaction to thicket in several ways. The first of which includes the more conventional standard of a large abstract painting, the second being the composition and color choice. The use of black in thicket teases the eye and challenges the senses, like a sexy La Perla slip under a frothy taffeta gown. In Gelsy, the use of black now consumes both the picture plane and monopolizes the spectrum of color. In fact the reverse happens, we are left only with a portion of Pepto Pink to inform the connection between the two paintings. However, this does not make gelsy less engaging, but unfortunately I am dealing with a pixelated copy. I would like to infer, nonetheless, that the surface is equally rich in flat color as it is in more playful areas. Gelsy, in affect, is a response to the precious scale and treatment of thicket, it is an over taking of senses. And, most irresistibly, is the idea of this growing, voluptuous, self-contained star.
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