March 2008 Exhibition at John Natsoulas Gallery

John Natsoulas Gallery in Davis, CA presented an exhibition of oil paintings by Dwarka Bonner from March 5, through March 29, 2008. The exhibition was in two parts: Winter Series 2007-08 and Faces and Figures. The seven paintings that comprise the winter series were painted between November and February and are augmented by three additional earlier works with related subject matter. The 14 studies of faces and figures were painted between 2003 and 2008.

An opening reception was held on Saturday, March 8 from 7-9 P.M. This event also honored exhibits by Yoshio Taylor/sculpture first floor, Frank Damiano/paintings third floor, and Jennifer Hirshfield/paintings fourth floor. Dwarka Bonner's paintings were displayed in the second floor exhibition space.

Photos of the 23 paintings and one print, along with text, are shown in the preceding 6 postings.

Winter Series 2007-08

Winter Series #1 ... 30" x 30" ... Oil on Canvas

Winter Series #2 ... 30" x 30" ... Oil on Canvas

Living at 8000 feet in the Sangre de Cristo Mountains outside of Taos, New Mexico, Winter presents challenges to a landscape painter whose penchant is to paint outdoors from direct observation. Between November and February, the period during which this series was painted, the snow piled up and never melted off and daytime temperatures were often around freezing – too cold to stand stationary for hours outside manipulating brushes. So I had to resort to subject matter that could be studied from indoors, painted from within the confines of the log cabin studio belonging to my partner Lawrence (Larry) Herrera, also a painter, who generously excavated a choice chunk of floor space for my use.

Winter Series #3 ... 28" x 40" ... Oil on Canvas

The studio overflows with Larry’s collected works. Indeed, the deck in front of the large South-facing windows sports various assemblage pieces of his fabrication, covered with snow. Beyond the deck and yard, one looks across the narrow valley bottom of the Rio Fernando, blanketed with the crowns of cottonwoods, to a steep forested mountain slope. For years I have looked at this wall of mixed conifers and aspens and contemplated how to paint it, featureless and flat as it is.

Winter Series #4 ... 36" x 36" ... Oil on Canvas

Sometimes I suspect that every view has the potential to be painted wonderfully, that any composition can be brought into harmony through the resolution of more or less detail on different parts of the canvas and through the play of the materials themselves. Wherever one looks, a painting is lurking. This idea, appealing as it may be, does not stop me however from carefully cropping the view when selecting a composition. Once the view is determined, I seldom alter it other than to accommodate vagaries such as the shifting sun and weather changes from day to day.

Winter Series #5 ... 34" x 55" ... Oil on Linen

Over and over I strive to paint scenes objectively as if there is a single specific correct color for each visual element (and I believe there is). Of course the eyes adjust, as best they can, to bright light just as they do to the dark. Similarly a saturated hue will affect perception of adjacent colors and colored glasses will make a scene appear somewhat monochromatic until we compensate, no longer seeing the overall tint. Painting techniques may mimic visual or mental adjustments and portray a conceptualized view such as purple shadows or green trees. Then too, impressions, associations and inspirations may lead to all manner of depictions. But I like to paint things simply as they appear, without keying values up or down or hues cool or warm and without departure into realms of made-up imagery.

Winter Series #6 ... 48" x 48" ... Oil on Canvas

There is no succeeding on such terms. The challenge has no end. There is always more detail, closer accuracy of light and color. I keep trying… developing the entire canvas, correcting the generalities with which the image began, flowing with the changing scene. But the painting is finished not by virtue of detail or accuracy. Rather, it is as the elements come into dynamic balance that it finds its voice and sings out its being.

Winter Series #7 ... 31" x 46" ... Oil on Canvas

Bracketing this series are two smaller winter paintings. One, showing Larry in his studio years ago, widens the angle a few degrees further North.

Larry in His Studio ... 20" x 16" ... Oil on Linen

The other is an example of what can happen while painting outside in a snowstorm, the paint and snow emulsion giving new meaning to wet paint.

Willow Creek Snowstorm ... 20" x 16" ... Oil on Canvas

Also included is a reminder of the joy of printmaking, a chine collé viscosity plein air monotype of a snowy meadow near my home.

Meadow on the Rio Fernando ... 13" x 20" ... Monotype

Faces and Figures

This selection of quick studies was painted in Taos from 2002 to present.

Tom Rogers, TSoPA ... 16" x 8" ... Oil on Canvas

Most were painted at weekly sessions held by TSoPA, the Taos Society of Portrait Artists. In this diverse collection, approaches range from sketchy to exacting and paint application from thin and transparent to opaque with pentimento.

Sal Giglio, TSoPA, Seated ... 11 3/4 x 11 3/4 ... Oil on Linen

This is a result of the experimental manner of their execution. Indeed they were painted as self-imposed exercises rather than as portraits.

Ivan ... 11" x 14" ... Oil on Canvas

I enjoy challenges, be it looking into the glare of a spotlight (Ivan) or the shifting light outdoors (Son of an Artist, Enlisted as Model).

Son of an Artist, Enlisted as Model ... 20" x 20" ... Oil on Canvas

But the biggest challenge is the model. The models are asked to sit in a relaxed position that will remain comfortable for several 20-minute sittings.

Saxophone ... 20" x 16" ... Oil on Canvas

As constructed, these lackluster poses conceal body language, making it harder to find an interesting view to frame for a composition.

John from the Chamber of Commerce ... 14" x 11" ... Oil on Canvas

Generally, from the beginning I work on the background and block out shapes rather than draw them.

Todd ...... 24" x 18" ...... Oil on Canvas

The terrain of a face unlike the hollows, ridges and mounds of a landscape is very demanding to paint in that slight errors will destroy the likeness. Features may have to be repositioned.

Taoseno ...... 8" x 10" ...... Oil on Linen

All too often I realize I have to move the nose or ear or eye when there is only 10 minutes left to paint. The studies are finished when the sitting is over; I rarely make any changes afterwards.

Pollen ...... 13" x 13" ...... Oil on Canvas

People are fascinating subject matter.

Young Woman in Backyard ...... 12" x 20" ...... Oil on Canvas

On the one hand, they appear one way but may actually be feeling differently. They sit as still as they may be able and it seems, after a while, as if one knows them.

Young Woman and Sax Mouthpiece ... 15" x 15" ... Oil on Canvas

But they might actually be thinking about something out-of-character for the personality projected upon them.

Young Man, Profile ...... 15" x 15" ...... Oil on Canvas

The profound intimacy between observer and observed, heightened by the act of painting, is easily transformed into a false sense of knowing the model, just as a viewer will get a sense they know something about the model by looking at a painting.

Todd, Standing ... 16" x 8" ... Oil on Canvas

On the other hand, there is something real and paintable about an expression.

Young Woman Wearing Red ... 14" x 18" ... Oil on Canvas

A model’s inner beauty may seem to shine forth from the canvas, as if she or he were present. People are, I find, the most enjoyable subjects for painting.