Sue Gentry
 

Sue Gentry
!mperfectionist



!





52!


Now crouching in the corner. A transformation of warmth to cold. From organic sensuality to muted enfoldments.


51!


Warm sensuality and tree root-like tendrils or sand dunes replace etherial cool. Lost in the bardo between is the last of the horns. That dream element now faded. Another portrait numen, but soft.


50!


Space replaces the seeming landscape. Are these the ripples? Multi-perspective worlds replace the single view. Perhaps the eye seeing the views reflected.



49!


A surprise transformation. Pictoral? It is hard to shake the obvious resemblance to landscape from the previous inner world.


48!


Again inside. But here plant or organism. The previous biomechanical dream seemed full size but the shift draws us into the micro.


47!


From religious to a manipulated instrumentation. A strange vision of organic tendril tending an artificial environment.


46!


A bardo worthy of the name. Three ideograms compete or commingle in an arena of consciousness. An awakening dawn from the previous nighttime.


45!


Sombre night filled with suggestive symbolics. A continuance of the comet figure from the previous. Free floating, has become warping structures attached to the rolling ground. Another portrait numen.


44!


The calm of green cloud-like background allows the figure to suspend in the air. The oceanic crashing has dissolved into a spectre, perplexing in its complexity but indeterminate nature. Just on the pictorial side of ideogramic. A portrait numen.


43!

SOLD [Salt Spring, Canada]

Motion and surface textures continue. The hammer and horn shapes continue. Where previously it seemed an explosion from within, here the chaos menaces from powerful external forces.


42!


A tumult of action, a breaking loose from the previous bending and bowing. Here it shatters and breaks into several painting styles overlaid. A portrait numen with a few lesser potential figures.


41!


The bending of reality into a wave, and its constructs carried along in the curve. Cold replace the red hot of the last. Distance and perhaps a kind of disassociation replaces the claustrophobic intimacy. It seems nature has reasserted herself.


40!


Soviet and Chagall flavoured red hot mechanism on indeterminate use. The apparatus of political confusion? A different kind of petrie dish, that of society, over the metaphoric previous.


39!


The religion in all its stained glass glory as a micro world of pond life or crystallography or subatomic iterative coalescent forces. The surge of the doctrine versus the previous pure celestial wonder.


38!


A medieval depiction of the cosmos. A celestial permanency. Spheres within spheres, gears within gears. A serene pastel escape from interwoven rabbit holes of divergent consciousnesses.


37!


Well... From creation's morning to frenzied chaos of permutation. Staircases to the infinitesimal bend space around them. The malleability of reality. The many pathways.


36!


A new beginning. A new class of dream. The last was a dispersal. Here we turn around and see the cock crowing and interreflections contained now within orb-like structures. Shining ova stated in bright colour. A new conception of things.


35!


The last of the previous dream sequence. Dark numina hide among the wreck of the dream with Freud ironically as one of them. What was conceivable, classifiable has now edges so amorphous and fuzzy as to spill out the unconscious desire without directive, save that of this self commentary.


34!


Leaving, going home. The last few wander off in opposite directions. The denouement. The tragedy of the previous dream accepted. Life goes on.


33!

SOLD [Vancouver, Canada]

A remarkable examination of the end of categorisation. The last of the polaroids. Many distant structures and figures. Rather fatalistic given the previous attempt at acceptance of pan-human activity.


32!


The definitive exploration of mankind in situ. What in the last was the city, now expressed is the dream of civilisation. A conceptualisation of every conceptualisation. A deep historical perspective, centuries overlaid as an iterative patchwork.


31!


The city as a story, an overview, as run by innefective beaurocrats and derelicted by time, with self-deluding demarkations of status. A portrait numen. The joke of urbanity. As habitat and exclusivity rather than in the last as communal experience.


30!


The nighttime playground of the urban dweller. A carnival midway in back alleys of tiny asian restaurants and dumpsters. Polaroids hang as posters, or as disembodied thought bubbles, as well as banners of desire, all float above the indistinct and robotic revellers. The commercial cycle of trucks is overlain at angle, as well as the side view of the backdoor reality. As far away from the spiritual beginning of the universe as you can get. A bardo of contrast.


29!


Here is creation. A set of principles set upon a stage. It reminds us of an old religious painting we have never seen. A continuation of thought from the previous work.


28!

SOLD [Victoria, Canada]

An unseen face within the heavens watches benignly, almost too hidden, too shifting to be a numen – a spirit of a spirit. The cloud-like joy of buoyant being - soulful disembodiments. Thoughts simply float as self obvious truths, contented and beatific. A relief from the dark overview of the previous dream.


27!


A comic book of the past: from the Goyaesque beginning of the Earth at the bottom through evolution, gendered psyches (used to further demarcate pathways), to a polaroid of an atomic explosion, to expression of the future ending either in vague spirit or in the darkness of the last square. A rather more pessimistic dream transformation from the previous blaring jumble of urban noise.


26!


Jazz and traffic noise. Bordered by red intensity, Frank Stella colour shouts pop jumble and jive. Congestion and nervous bumper to bumper, elbow to elbow jostling. A reiteration of the previous crowd only louder.


25!


Packed into waiting. Like Ellis Island applicants or boarders for a train, hopeful, feed forward, while numina guard or menace in the Klimpt coloured station. Far away from the lights outside.


24!


In Paris when it rains. In impressionistic colour. The streets wet reflect the lights and the crowding of people out of the cold around cafe tables. A journey into the past? The lights continue their appearance.


23!

SOLD [Honolulu, US]

The glow of lanterns, the glow of festival. A reestablishment of human scale order, human scale power – candles.


22!

SOLD [Victoria, Canada]

A vortex of energy. Falling into the reactor core, melting into the background radiation. Or a violent explosion, disorder rules, categories are strewn into disarray. Whichever the temperament has become volitile.


21!

SOLD [Bainbridge Isl., US]

Although twisting slightly, nothing is exact, but it all fits together. A peaceful snowy town where road and building merge in the atmospheric haze. Instead of constricted, it is here cozy, and where before the edges implied no escape, here they speak continuance of harmony.


20!


Compressed into the centre. By turning the alignment the edges seem to go off forever. Ancient dwellings, temples, passageways huddling together against sandstorm and maurader. But held too tight? – in the slow twisting regularity. The stone simple rule over the symphony at multiple levels.


19!


Here resides the fox, and dozens of other numina (seen at full size). A fairy garden, thought bubbles and again a Klimptesque palette. The other fantasy world that doesn't hide its danger.


18!


Barbie colours, drawn into the centre, away from the borders. A bloody consumer lifestyle utopia. A nightmare in pretty pink. The bardo contrast of molecular zero.


17!


Latices of atoms within, jutting outward. Rotations in blue tones give the impression of emergence. Frozen crystalline clusters. Monotonal to the previous polytonal.


16!


Order steps inward to off centre core. Like bees with squared off honeycomb. The palette is late 1930s rather than previous dustbowl 30s.


15!


The uncoordinated milling of workers. For just a grouping of marks about a centre there is a tenseness a potential for violence borne out of frustration. How much more focused in subject than the previous dream in starry blue.


14!


Numina are framed in windows. Surrounded by lights that float on plates of blue depth. Flotsam and jetsam. A wander for the eye, where reshifting on the depths reveals the choice of experience: flat or three dimensional.


13!

SOLD [Seoul, North Korea]

An asian palette. Cliques and corridors and pretty silk cushions. A garden of delights. A woodcut depiction. Refinement transformed from the previous rawness.


12!


Non-method absorbed yielding stylistic painting with intelligent emotion. A real statement. The future seen from the past. A summer day at the city park, a circus, a carnival. Loud music, loud traffic, loud people. Muralistic and coarse. Precise, where last there were ghosts.


11!


Even more indefinite edges. Even larger colour spaces. Raw emotion increases. Horses in the clouds of sunset, or is it the apocalypse? The enlargement has become diffusion.


10!


Scale change. The eye is still free. Emotion appears. A raw pool-hall sexuality, a decision to be bad. Breaking loose from tightness, the particles enlarge and intermingle.


9!


Contrasting colour temperatures. Unfocus as scanning eye movements.
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8!


Variations on nature palette. Asymmetrical. Unfocused. Depth is subject.
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7!

SOLD [Crescent Beach, Canada]

Portrait tones. A little centred but the absence of solid focus is an achievement. The eye free to wander.
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Hypnogogic Beginnings






6!


Chromatic marks over blue. Void of reference, but uncoordinated.
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5!


South American palette, 70s inner city claustrophobia and vibe. Dropping last of pictorial expectations.
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4!


Flat colour marks. Primitive, but a success of process.
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3!


Reducing expectation is still factor to achieve methodless process. Hot and cold colours. Compositional artifacts.
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2!


Earth palette. Three numina dominate. An early foreshadowing - style still infected with cubist language.
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1!


Breakthrough from previous pictorial work. Colour speaks for itself. Impressionist ghosts lurk.
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