Paint and sculpture characterize the ‘Fluidity of Form’

Photos courtesy of Gallery Madera

FLOWING FIGURES. Gallery Madera’s newest show highlights the work of ceramicist Heather Cornelius and painter Kelsey Parkhurst as they interpret the phrase, “The Fluidity of Form.” “A Cup of Sugar?” displays Cornelius’ delicate handiwork and intricate design in breathtaking fashion.

Gallery Madera’s newest show is composed of diametrically different work by two artists: Kelsey Parkhurst, a painter, and ceramicist Heather Cornelius. Their vastly opposing color schemes and techniques somehow fuse cohesively in “The Fluidity of Form.”

Parkhurst’s brightly colored acrylic-on-canvas pieces primarily depict aspects of day-to-day life in a lighthearted way. Parkhurst isn’t attempting to impart an opinion or message through her pieces, but rather is reflecting upon some important aspects of living that may be glanced over. Many may call these objects/tasks boring and inane, but when glanced upon in an artistic way, some viewers are able to find meaning and appreciation in the familiar.

“Let’s Bowl” contains an aquamarine/blue background, and features three bowling pins and a bowling ball coursing down the lanes. The piece has an exaggerated feel, and can almost come off as surrealist. The pins aren’t perfectly shaped, and lines surrounding the tops of the pins are swirly, as are the lane lines. Each piece of wood composing the lanes is a different color, as well. A simple event such as going bowling is made into an artistic experience via Parkhurst’s mind and hands.

Another piece exhibiting a familiar object to many is “The Writer.” Here, Parkhurst creates a scene simply composed of a typewriter sitting on a table alone. The object is colored in tan and green and sits on a wooden table and behind them the walls are colored green as well. The lines and brush strokes are clearly evident on the table, and a piece of paper is sticking upright out of the typewriter. The view is quite embellished, and there are no strong or definitive lines housed at all on the canvas. The effect is a view that is simplistic, comforting and effective.

Cornelius’ work mostly tends to revolve around the female form and is presented in ways that are unapologetically realistic yet thoughtful at the same time.

Her standout piece in the exhibit, without question, is “A Cup of Sugar?” Composed of a ceramic female bust, a mixed media house structure with a window, rooftop and a flowerbox, Cornelius depicts a brunette woman standing naked for all to see. Her stomach is not revealing washboard abs, her breasts aren’t perfect and her arms aren’t cut – she has a softer stomach, uneven breasts and generous thighs and hips. Her face is incredibly precise in the details, and is evidence to Cornelius’ calling. Blue-ish green eyes and carved lips are impeccably sculpted, and the woman has a fixed stare on her face, as though she is staring at someone in particular, hoping that they will look back.

Interspersed generously throughout Madera are sets of three to five “pear ladies,” ranging in large and small sizes. The pieces represent a play-on-words of the phrase “pear-shaped,” and give views of the front of the pear with belly button holes in the middle and the outline of the female form as well. They are brown, like Bosc pears, and each is detailed and uniquely its own form. The pieces are realistic, and give viewers an idea of Cornelius’ sense of humor and wit through art.

One of the more dramatic sets of artwork composing Cornelius’ additions to the show is “Disfigured Mothers (No.1-3).” All three busts sit in a row, and end at their stomachs and start at their heads. Each figure is bald, and shows signs of wear and tear along their bodies and faces due to living and birthing. The middle figure, (No. 3), has the most jarring expression on it, impressing fear and shock on the viewer. The green eyes of the piece are clear and open with the mouth sitting agape. Similar to her other works, their bodies sag and appear as bumpy terrain with deep potholes for belly buttons. Their faces and skin seem burned, a brownish color with marks, scars and clearly depicted lines to signify stretch marks. The pieces symbolize the decay of women’s bodies after childbirth, and perhaps portray the side of the process that most don’t see or want to think about.  

“The Fluidity of Form” is on view now through July 25 at Gallery Madera, located at 2210 Court ‘A’. Gallery hour are Wednesday through Saturday from 12-5 p.m., (third Thursdays until 8 p.m. and by appointment). For more information, call (253) 572-1218 or visit http://www.gallerymadera.com.

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