Structure & abstract:

A Review: Lindsay Rass and
Liberia Marcuzzi in the lobby of
the North Vancouver Centennial
Theatre, Sept. 15-Nov, 1.

26 - Wednesday. October 17, 1990 -- North Shore News

HE LARGE institutionalized galleries pertorm an in-
valuable function in that they preserve the integrity of
the arts in a world that is hardly geared to their

healthy development.

But the curators of these galler-
ies are otten forced, by the politics
of art and the politics of govern-
ment, to operate under constraints
that require them to cater to ustab-
lished aesthetic tastes and to
feature current and past cultural
stars.

This is why there is an ongoing
need fora broad range of alter-
native venues for housing and
viewing art. These not only pro-

By Archie Graham
Contributing Writer

vide space for young or emerging
artists to exhibit their work, but
may also help to undermine the
prejudice that art is something
which belongs in a museum, One
could lament the loss of profes-
sional curatorship and criticize the
inadequacy of the space in such

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venues, but it’s nonetheless grate:
Tying to tind visual artin places
where it can be seen by a wider
audience than we usually en-
counter at the established galler-
10S.

Of the wo painters Currently
showing in the space generously
provided by the Centennial
Theatre, Lindsay Ross’ work is
more structured and less abstract.

Her tigures are outlined in bold,
black brushstrokes, and the paint
is liberally applied. She makes use
of strang colors and creates strik-
ing contrasts to dramatize the
powerul emotions she is grappling
with,

Ross is perhaps at her best when
probing the uncertainties and
dissatistactions of the heart. She

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Two new exhibits
at N. Van theatre

reaches a high point in this regard
with a multi-media piece called
Domestic Bliss, in which she takes
a satirical swipe at the domestica:
tion of women,

But the overall ettect Gt Ross’ art
is weakened by the uneveness of
the paintings presented here.

One or two are clearly the work
ofa skilful artist while others are
like tentatively executed studies
produced in the trial-and-error
process that customarily takes
place in the studia.

The Ross show would have
benefited from a more caretul
selection of works, one focused
not on displaying the range of her
stylistic expertise, but on con-
sistently Hustrating those painterly
skills she obviously possesses.

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Libena Marcuzevs pure abstrac-
tions are fresh, lyrical explorations
in what she calls the “language
ot color.” Taking her point of
departure from the natural en-
vironment she uses the colors of
the ocean, sea-green, ultramarine
blue, and violet to evoke special
moods.

Although she is an experienced
graphic designer, Marcuzzi is new
to painting. While it ts evident she
is sull oxperimenting with the pal-
ette and, by hee own admission,
“finding her voice as a painter,”
her works nevertheless demon-
strate that she already possesses a
colorist’s understanding of the ex-
pressive power of color.

Only someone who is a keen
observer of human feeling and
endowed with the capacity to ap-
ply color with considerable sensi-
tivity could have produced these
paintings. They are the fruit of a
mind in search of liberation.

Marcuzzi's art invites the viewer
to loosen his tie, take a deep
breath of sea air, and give into
sheer enchantment.

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