PENNY ANNE KIRK.
Penny's working from Old Master, Impressionist and Post-Impressionist
to Modern works, is a dynamic steeped with historicity.
Picasso worked from tribal abstraction accomplished before him in Africa.
Post-Modern conceptual artists incorporate actual facsimiles of images,
photocopies and downloads, of art of the ages, as well as weaving images
from the garrish art of advertising in our consumer targeting society.
Rembrandt worked from Rubens and Nicholas Maes worked from Rembrandt.
Nevertheless, Penny works in her own uncanny manner, applying thick
oil pigments directly to canvas without preparatory steps.
Watching her work is like watching an early Disney animation,
where an artist's hand magically paints a scene, with each stroke
complete in itself, leaving a finished painting, beginning in one corner of
the raw canvas and moving, or rather unrolling, diagonally across its surface.
Images seen on this page, showing Penny's use
of masters studies as a methodology, culminated in her inarguably unique work, The Transfiguration.
(Penny's "diving board" on The Transfiguration was a mannerist work by Procacinni).
The scintillatingly raw, mystical presence of Penny's Transfiguration asserts,
in itself, a not easily dismissable thesis, that practice of masters studies
has contemporary viability and efficacy.
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