It happened like this: I was in the middle of hanging the last show, “The Ben Franklin Project, Exhibition 5”, when I had one of these “ah-ha!’ moments concerning one of the submissions, a painting made by all accounts by a virtually unknown artist. I have handled the work before, as they were the longtime property of 4731 Gallery.
In an earlier show I had included it, with the permission of the owner, with the intent of “filling out” the collection available for sale; it was a rather thin presentation to begin with. The paintings, there were two of them produced by the artist, were deemed acceptable by the Juror, Jim Dozier. And I liked them too, quite frankly. I saw in them a unified quality; they had the certain air of self-containment that is sometimes lacking in some of our most experienced veterans. I’ve decided to use the paintings again.
The subject matter of the two paintings depends entirely on private perceptions, for they both came untitled. I had dismissively identified them as the first thing that came to mind: respectively, a pair of “cloud scapes”. One was rather monotoned in shades of cobalt blue while the other, the one I looked upon as the main work, appears to be in full color. Indeed, a pair of abstractionist gesture studies one could even alledge, “doodling exercises”.
Also, the palette is light and complimentary, not too much clash in contrasting tones. As I said, there were simple qualities in these two paintings that I find pleasant and that I certainly didn’t have a problem about showing them. However, my thoughts on these works have hardly gone beyond that point…until a couple of days ago, when I once again rehung the bastards for another charge at the windmill.
It’s a rare moment when a curator finds himself standing across from a genuine masterpiece of visual art at the moment of its discovery. I was surprised and humbled to be the first to recognize the status of this work. Its level of subtlety has misled everyone.
I knew if I lived long enough, I’d find somebody who is a better painter than I. And according to the signatures on the back of each painting, that person goes by the name of Mitchell Percy…and the paintings were produced in 2005.

bryant tillman @ the secret hideout

I am not sure when the moment happened. I was sort of “tweaking” the pictures on the walls, straightening them on their hooks and standing back a bit to size them up as a compositional arraingment. The two paintings were hung side-by-side this time, so I get to look at them both at once, but that does not hardly matter, for I didn’t ascribe any additional quality other than the “evocative blur” I eluded to earlier. In any rate, the two chums seem to be doing their old trick again…as visual ballast for the rest of the exhibition.
As I remembered it, I was standing in front of the “main piece” from a short distance, staring at it. Some other detail turned my attention away from the picture for only an instant, but when I turned my head back, I was looking at an entirely different work of art. How could I have been so blind?
Again, it’s a matter of perception, but this time I had understood that I was wrong in classifying the painting as abstract. Actually, I believe it to be closer to a form of realism, within the impressionist school, but with a level of execution that betrays not only an understanding of nature that befits only a creator, but a humble acknowledgement of a poetic spirit that reinforces artistic vision. The silly abstract gives way to a serious work of the “naturalism” that could be championed by Emile Zola himself.
What I now see (in so many words, the thing isn’t just poetry, but a form of visual haiku) is an aerial view of a stretch of Chilean steppes, of twisting channels of mountains too steep to climb up and down. I’ve seen similar formations in Japan and China, all covered in a morning haze, as seen from above, but not too far above, like from an even higher cliff. The image is definitely of a concrete locale; I can visually trace the rims of the cliffs with my finger. Funny, I never noticed it before. And the impressionist atmosphere, the foggy haze being chased down into the ravines by the strong morning sunlight…well past dawn, I’d say. The rays of light dances and rakes across the topmost peaks and edges of topography, while the bluish shadows in the canyons below retain the memory of the night before.
There is also, after saying all that, another possibility as to the subject matter of the main painting. I also get a very strong suggestion of the rippling clear surface of water, with the algae-covered bottom just a foot or two below the surface, undulating in the refracted sunlight as the rays glints and dances off the tiny crests.
The brushwork

detail of Percy's painting

 is a statement in brevity. It plays across the surface in a courageously matte finish, as unvarnished as truth itself. The weight of the strokes consist throughout, no emotional slaps of passion. This is a work of calm execution, with a deliberate outcome…if not a deliberated concept.

The other, bluish work has a similar look and texture, but in spite of their own potential as a powerful works, there is still some lingering doubt as to whether these images actually represent either a brace of clouds, a turbulent seascape or, for that matter, anything in particular at all. It is the duty of all artists to “convey” to their audience…there was nothing in the rules that stipulate that they actually have to say anything.

  Anyway, for one hundred bucks, how can you go wrong? These and all art on display are now on sale for precisely $100 each.

These fine works of local art, and others await at 4731 Gallery, located on 4731 Grand River, just south of Warren.

The Benjamin Franklin Project/ Exhibition VI

Opening Night
Thursday, September 16, 2010 6:00 to 9:00pm

Refreshments served, lighted parking.