Sisi Puitik Pada Seni Rupa Michelle Swayne

Reprinted from Suardi Magazine (October 2007).

In Indonesian, pseudonymous.

Continue reading Sisi Puitik Pada Seni Rupa Michelle Swayne

From Tennesse to Indonesia

Balayem, Michelle Swayne, acrylic on canvas, 2004

Balayem, Michelle Swayne, acrylic on canvas, 2004

Tom Wolfe, in The Painted Word, joked that “art has become completely literary: the paintings and other works exist only to illustrate the text.” In her exhibition at Gaya Art Space, titled Yellow, But Not The Sun, New York artist Michelle Swayne subtly undermines the forces described by Wolfe. Through poetic titles that themselves read like paintings, a solid grounding in both conceptual and academic art, and most of all through the ineffable touch of the art itself — uncannily ambiguous work filled with tonal angularities and tensions — Swayne reclaims enough space for the viewer to see her paintings and sculptures as visual objects married to visual ideas, resistant to easy textual parsing.

But her decision to give up her studio in Williamsburg, New York ¾ an area with the world’s highest concentration of artists ¾ to live in Bali and paint alongside rice farmers (her studio is literally open to a ricefield on one side) is, in part, a reflection of those forces. And she is not the only artist to trade New York for Bali: the painter Ashley Bickerton once lived two blocks away in Williamsburg.

Discussing Matisse and Picasso, Swayne once wrote that there are two kinds of artists — those who are filled up and pour out and those who gather and re-negotiate; those who blindly go to discover and those who specify what is found. Swayne works more in a quiet “pulling” mode than the analytic “poising” mode, and she has found something in Indonesia that New York lacks.

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