Elisabeth Condon, Unnatural Life, 2016. Acrylic and ink on linen, 54 x 72 inches.
Courtesy Emerson Dorsch Gallery, Miami, Florida/Phillip Reed.

A colorful post and shout out to friend Elisabeth Condon as I transition from Portugal to Hamburg and back into the studio. A recent article describes the influence of her upbringing in Los Angeles with a landscape similar to Portugal…with “eucalyptus and palm trees, bougainvillea, and ice plant surrounded modernist homes on winding streets” and her mother’s way of decorating in Hawaiian Modern style. In the painting above, I hang tight to the visual punch of the black petals outlined in white. And to the parallel lines, like wallpaper, in healthy contrast to her more typical organic material in contrast, which can get kitschy fast (best when it plays the line well). Below, the expanse of pink reminds me of my sketches on yupo. That visual breathing spaces allows her to the pull off the red white and blue, which is most successful in the leaves, lower left, one of which starts to turn, becoming 3-dimensional, next to others that flatten and wrestle with the splatters and stripes. Also critical: that yellow mid-bottom edge.

Elisabeth Condon, Housing Unit, 2016. Watercolour, 22 x 30 inches.
Courtesy Emerson Dorsch Gallery, Miami, Florida/Phillip Reed.

Perhaps this post is part-protest to the German love for bad painting or the gray, windy skies here in Hamburg, siding with the intense greens and flowers in this city’s landscape, fed by the rainy weather. Clearly a compelling tension between.

Elisabeth Condon, Love, American Style, 2016. Acrylic on linen, 54 x 72 inches.
Courtesy Emerson Dorsch Gallery, Miami, Florida/Phillip Reed.
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