{"id":1708,"date":"2021-08-03T15:42:48","date_gmt":"2021-08-03T15:42:48","guid":{"rendered":"https:\/\/www.dartmagazine.com\/?p=1708"},"modified":"2022-03-15T00:10:23","modified_gmt":"2022-03-15T00:10:23","slug":"space-being-francie-lyshak-and-francine-tint","status":"publish","type":"post","link":"https:\/\/dartmagazine.com\/?p=1708","title":{"rendered":"Space & Being : Francie Lyshak and Francine Tint"},"content":{"rendered":"\n

July 17 \u2013 August 15, 2021, Joyce Goldstein Gallery, Chatham, New York<\/em><\/p>\n\n\n\n

by Dominique Nahas<\/strong><\/p>\n\n\n\n

Space & Being <\/em>highlights the current work of painters Francie Lyshak and Francine Tint at the Joyce Goldstein Gallery in Chatham NY. This exhibition, skillfully curated by independent curator Jen Dragon, is a striking example of how effectively a curator can conjoin two utterly dissimilar temperaments, creating a lively visual dynamic of differing yet far-ranging emotive resonances. This overall dynamic at the Goldstein Gallery pushes out energy of la dur\u00e9e<\/em>, or duration, the term Henri Bergson used to indicate temporality as lived-time. For the viewer this very duration is that of pleasure of being alive, of the very experiential joy of being in-the-moment-to-moment while experiencing complexity and contradiction. The paintings in the exhibition draw you in, as ambient visual aromas and auras circulate in the gallery space with spacious eloquence. Here, two artists parse la dur\u00e9e <\/em>through two different intonations.<\/em><\/p>\n\n\n\n

\"Lyshak_TidalPool_22x29_2020\"
Francie Lyshak, Tidal Pool<\/em>, 2020<\/em>, 22 x 29 inches<\/figcaption><\/figure>\n\n\n\n\n\n\n\n

Francie Lyshak and Francine Tint are painters who work non-representationally. They speak two different abstract vernaculars. And the abstractions in Space & Being <\/em>are slow reads. The mental, associational, and psychical dynamics that pervade are long-lasting. Such dynamics take their time to work on you as they come from different angles or vectors of experience. For example, Francie Lyshak is dedicated to making nuanced monochromatic oil paintings with surface-tension exacerbated through raised and indented surfaces as well as the planting, so to speak, of unanticipated details that delight the eye. The artworks\u2019 strong haptic energies are hidden in plain sight. The working of the paint surfaces is subtle and nearly undetectable at a distance until you move back and forth, inducing the eye to observe the paintings\u2019 surfaces through a raked visual angle. These surfaces are replete with strength, subtlety and nuance. Francie Lyshak\u2019s \u201cadventures of light and color\u201d as she writes in her artist\u2019s notes, takes into considerations experiential and psychical experiences that converge in the mind\u2019s eye as a pre-verbal type of consciousness. Lyshak\u2019s studio practice in Space & Being <\/em>is embodied through the inclusion of six declarative oil-on-linen paintings. <\/p>\n\n\n\n

\"Wings
Wings \u00a9 Francie Lyshak \u00a9 2021, Triptych<\/em>, oil on linen, 40 x 76 inches<\/figcaption><\/figure>\n\n\n\n

Her Wings Triptych <\/em>(2021) consisting of abutted blue, black and white canvases, dominate the wall it sits on with uncompromising presentness. The artist\u2019s largest, most reduced work in the exhibition Wings Triptych <\/em>seems to preside over the other works with an intense sense of majesty. The remaining five artworks in the exhibition are from Lyshak\u2019s Light Catchers <\/em>series in which the artist scrapes and digs at the paint with tools that circumvent the exclusive use of brushes. using palette knives and scrapers, to indent and pick-at the pictorial surfaces, almost treating the topical paint layer as epidermis as her mark making impulses serve to suggest ritual scarification impulses that are worlds apart from merely decorative principles or tendencies. Included are two 40\u201d x 24\u201d vertical oil-on-linen works Gathering <\/em>(2020) and All that Remains <\/em>(2021), as well as two horizontal works , the oil-on-linen 24\u201d x 40\u201d work Yellow Waves <\/em>( 2020) and Reflecting Black <\/em>(2018) measuring 24\u201d x 24\u201d, an oil-on-linen work with a mesmerizing surface of black roiling shininess. These artworks, with their haptic energies laid bare through their carvings and scratches, have an intense under-the-surface quality that appears to simmer and boil, reflecting uncomfortable states of mind. Tidal Pool <\/em>(2020), a monochromatic russet red oil-on-linen work measuring 22\u201d x 29\u201d includes whirlpool-like thick skeins of paint that are anything but quiescent. Instead, an underlying sensation of crisis seems to pervade the work, giving this relatively small work an outsized presence.
<\/p>\n\n\n\n

\"Tower
Tower \u00a9 Francine Tint, 2021 acrylic on canvas, 56 x 16.5 inches<\/figcaption><\/figure>\n\n\n\n

Francine Tint\u2019s nine acrylic abstractions in Space & Being<\/em>, by contrast to Lyshak\u2019s, are anything but monochromatic. Indeed, Tint\u2019s sensual, unruly gesturalism with its color-ladened brushstrokes suggest emotional extremes of push and pull, a sturm und drang <\/em>of the mind. Her paintings are like living entities. The standouts in the show are five tall narrow acrylic on canvas works that serve as sentinels, or as windows or doors to consciousness. These are Sunny Side of the Street <\/em>(2017) Tower <\/em>(2021) 56\u201d x 16\u201d 1\u20442\u201d, Angel of Light <\/em>(2018) 57 1\u20442\u201d x 26 1\u20442\u201d , Secret Bay <\/em>(2017) 58\u201d x 26\u201d , and It\u2019s Always You <\/em>(2013) measuring 35\u201d x 14\u201d. The mastery of the artist\u2019s brushwork with her luminous color play possesses a vigor and freshness that speaks to a strong exploratory attitude. <\/p>\n\n\n\n

\"Black
Black Luxury \u00a9 Francine Tint, 2021, acrylic on canvas, 9 x 12 inches<\/figcaption><\/figure>\n\n\n\n

And this auratic power is equally evident in Tint\u2019s much smaller artworks, as in Black Luxury <\/em>(2021). Whatever the size, what is immediately arresting is the assuredness of Tint\u2019s mark making. Her color-filled, thinly applied, layered acrylic-paint brushstrokes incrementally add sensorial presence and fullness to her pictorial surfaces. The interplay of Tint\u2019s wafting veils, clouds and drizzles of paint form and perform like shifting meteorological patterns, reminding the viewer of the elements: winds and rains, of downpours and side-currents, of furtive and not so subtle emanating forces thrusting, parrying and counter-parrying. The diminutive Black Luxury <\/em>has an outsized presence in spite of its 9\u201d x 12\u201d size. The two lushly sensual and decisive centralized black-and-white swaths are brushstrokes that intimate thick, slushy currents and swelling sea waves. The top left corner and lower right corner are colorful shards of space and time, inner worlds that serve as ballast to the main event. Tower <\/em>(2021) is 16 1\/2 inches wide and stands at a little under 5 feet. Tint\u2019s thick red brushstroke sits on the top surface of this columnar-like work. Underneath we see a succession of a variety of differently colored receding brushstrokes, like petticoats over petticoats, overlays that accommodate deeper and deeper recesses behind the initial red mark.<\/p>\n\n\n\n

Space & Being <\/em>invites us to indulge in the abstractions of Francie Lyshak and Francine Tint, two dissimilar master-artists. Yet whatever the differences, similarities pervade: each aesthetic vision prioritizes a form and space of openness and availability, and essentializes presence and vitality.<\/p>\n","protected":false},"excerpt":{"rendered":"

July 17 \u2013 August 15, 2021, Joyce Goldstein Gallery, Chatham, New York by Dominique Nahas Space & Being highlights the current work of painters Francie Lyshak and Francine Tint at the Joyce Goldstein Gallery in Chatham NY. This exhibition, skillfully curated by independent curator Jen Dragon, is a striking example of how effectively a curator can … <\/p>\n

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