My eyes settle on the first wood inlay painting. The tranquil isolation portrayed instantly reminds me of summers spent with my grandfather on the placid lakes of southern Manitoba; I am reminded of the tremendous expanse and the peaceful lapping of water against a simple manís fishing boat. Summers in Canada were always a departure from the hectic pace of my life in the city, and just like Alison Elizabeth Taylorís works ó currently on display in The College of Wooster Art Museum at the Ebert Art Center ó a kind of escape into isolation.
Taylorís exhibit features eight wood inlay paintings, each depicting a unique yet familiar representation of life on Bombay Beach, Calif. The chosen subjects of the artist have a unique effect: the ability to make the scenes depicted feel highly personal. After 10 minutes in the gallery my pockets felt as light as those of Taylorís characters; their troubles were my troubles; their tortures my tortures.
The paintingsí subjects are highly varied, including images of a squatter in Bombay Beach, Calif., an empty pool in the desert behind a chain link fence, two women under surveillance by a man in a truck and an ex-Marine tenderly feeding a peacock, as well as a constructed space titled, ìRoom”, (2007ñ2008).
As I enter ìRoom”, I am first struck with what can only be described as awe. The exhibitís most impressive feature is essentially the living and work space of an imaginary person. Aptly named, the work is a very detailed piece that reflects the intricacies of its ownerís persona. The four artificial windows depict different scenes, showing natural scenes on one side and classic suburbia on another, creating a juxtaposition of human forces against natureís beauty.
I survey the personal articles that line the wood inlay shelves and am struck by a thought: Taylor, in her exhibit, particularly in this work, straddles the line between art and kitsch.
The wooden inlays work on two levels: the complexity and richness of the wood provides a fine canvas for her particular and very personal brand of storytelling, but it is also strangely reminiscent of the half-way homes and travel vans of yester-year. This speaks in itself, creating an ironic juxtaposition between the idea of middle-class America and the counter-culture, almost rejection of suburbia she depicts within her artwork. This juxtaposition is highlighted by her chosen medium of wood veneer, which is reminiscent of common depictions of the homes in the 1970s middle class.
The gallery left me in a contemplative mood. Taylorís work is stunningly mature, the subject of her art and her chosen medium creating a beautiful paradox that can only contribute to the artistic value of the pieces. Taylorís exhibit will be on display through Oct. 11, though it will be closed from Oct. 3 -6. On Oct. 7, students from Prof. Dan Bourneís Introduction to Fictional Writing and Poetry Writing classes will present selected writings inspired by the exhibit.
Additional writing contributed by Marten Dollinger.