20 - Wednesday, April 1, 1992 - North Shore News

NEWS photo Cindy Goodman

RECURPING DREAM NO. 2 by Linda Findlay is the most powerful painting in her show in the Cen-

tennial Theatre Lobby.

Menacing landscapes

A powerfu! series of paintings from Linda Findlay

Internalization by Linda Findlay, Centennial Theatre Lobby, 2300
tonsdate Ave., Nerth Vancouver. March 15 to April 30. Manday
to Saturday: 12 to 4 p.m.

NE OF the prime movers of 20th century art, New
York's Robert Motherwell, attacked the common

assumption that the artist begins with reality and
ends with art.

On the contrary, he said, “‘The
artist begins with art, and through
it arrives at reality.”

Art, in other words, is the em-
bodiment of the search, a vehicle
of discovery.

This seems to be true of Linda
Findlay’s work on show at the
Centennial! Theatre.

Now a Vancouver resident and
student at the University of British
Cotumbia, Findlay is a graduate of
Toronto’s Ontario College of Art. In
her late 20s, she is embarking on
the first exhibition of her work,
and audacious work it is, both in
skill and in concept.

Findlay bears all: erotic senti-
ments, fears, anxieties, pain, and
bitterness.

Her vivid and vibrant colors

Archie Graham
ART REVIEW -

range from sultry to voluptuous.

Largely abstract soft and
mellifluous forms are repeatedly
contrasted with hard and pointed
ones.

Her work is a kind of backward
dive into the nefarious waters of
the unconscious. The reefs she

~ encounters here are full of

menace.

The earliest piece in this exhibit
is part of a series called /nter-
nalization. Recurring Dream #1 is
a tentative work in which the hand
of the painter is unsteady and the
compositicn a trifle congested.

But this landscape of
disassembled spikes, chains, and
gears nevertheless contains strong
hints of male oppression, inteliec-
tual claustrophobia, and emotional
pain.

The only suggestion of escape is
a doonvay at the centre, one that
opens onto a distant and am-
biguous landscape.

The same themes are taken up
again in a later piece, Recurring
Dream #2, which is the most
powerful painting in the show and
a veritable tour de force.

A large drive-shaft, the emblem
of masculinity, thrusting out from
the centre like an obscenely pow-
erful gun barrel, is pointed at the
viewer.

See Findlay’s page 28

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