Cynthia Kirkwood’s art on show in Vermont
Periodically I come across Bermudian artists, who for varying reasons find it necessary to live abroad, but who continue to be artistically active in their respective communities.
Just a few days ago I received an invitation to an exhibition in Waterbury, Vermont, involving Bermudian artist, Cynthia Kirkwood, who is not only a participant, she is also the show’s curator.
Since I am not in Vermont and unable to see the show in person, what I write will perhaps be less of a review and more of an announcement. Still, I do have some grasp of the show. Thanks to e-mails, I have been supplied with a press release, plus additional information and photographs of the exhibit.
This is a three-artist exhibition, nevertheless, I will concentrate on what I know best, namely the work of Bermudian artist Cynthia Kirkwood.
I know of Kirkwood’s art from her previous participation in the Bermuda National Gallery Biennials. From the invitation’s information, it seems that her current work is an ongoing development of her investigation into personal cosmologies that began with a dream. Her art, while esoteric, develops naturally, organically. It is abstract, poetic and beautiful.
Kirkwood’s art involves aspects of spinning, when we stop to think of it, everything seems to be spinning. We are spinning in multiple ways, especially if we consider circulation as a kind of spinning.
The concept of spinning involves the subatomic, as well as the galactic, and much that is in-between. Recent investigations suggest that even the universe may be spinning. The forms she uses in her abstract compositions somewhat bring to mind spinning tops or even gyroscopes.
In her previous BNG Biennial paintings, Kirkwood utilised exotic and unusual materials, such as walnut ink, rosewater, gold, mica and garnet. However, this time she has used mostly oil paint on linen canvas. Additionally, she is also exhibiting six small watercolours on paper.
The dimensions of all six watercolours are 12.25 by 7.5 inches. All are designated Mystery Semaphore. The six are all related in terms of design and numbered. They remind me of a schematic diagram of a circuit board. The artist suggests that at times, she sees it as depicting semaphore flags, hence the title.
Kirkwood’s previous BNG Biennial contributions were all works on paper; all were small in size. With her current exhibition her oil paintings are considerably larger. Her use of colour is largely intuitive, combined with surprising shapes.
Everything considered, I am reminded of the abstracts of Hilma af Klint, who was probably the first totally abstract painter in modernism. Kirkwood confirms that she is for her an important inspiration.
This exhibition is titled Primordial Forms. It includes not only Kirkwood’s paintings, but also the art of two other artists; Terry Ekasala and Grace Degennaro. Ideally, a successful small group exhibition should, while showcasing differences, also highlight commonalities.
From what I can determine from a distance, Primordial Forms, does just that. All three stress abstraction, but Ekasala is the more expressive, while Degennaro and Kirkwood seem more on the same page, namely the world of dreams.
The gallery hosting the exhibit is the Phoenix Gallery and Music Hall, at 5 Stowe Street, Waterbury. The show opened on July 17 and closes on October 19.
The gallery director, Joseph Pensak, describes Kirkwood’s art as “radiating transcendent liminal energy from the sacred posture of receiver and received.”
I realise that some Bermudians regularly spend time in Vermont, especially in the summer. If you are one of those, I recommend taking the opportunity to see the show. I hear Waterbury is also an attractive town with appealing amenities.