by Martha Sarno
Grand Gruen Galleries offers an interestingly vast space with a full variety of art. I receive warm greetings from the friendly staff seated at a panel of desks. Two tiny, smiling, fluffy dogs emerge from behind. They appear to be performing a choreographed tap dance across the impeccably clean hard wood floors.
There is not one exhibit showcased at Gruen Galleries, but several. The
exterior of the building certainly did not reflect the impressive size.
I feel like I am back in Venice map in hand, thirsty for art, hungry
for garlic bread. In my search for Parish's Venice, I encounter several
styles of art, mostly abstract, mostly mixed media. Finally, as
directed like a lost tourist, I journey up the red spiral staircase to
view more.
Clean and open.
Dreamlike fantasy, escape from reality, comes to mind when I think of
my past visit to Venice. Powerful sunlight richly plays off colorful
buildings at which no city could compare. The mysterious waterways
travel through the city, both buildings and gondolas afloat. Clean
laundry cascades its way across alleys, waving in the light breeze,
enhanced by the aroma of espresso beans.
In the terrific beauty of this city, there are its darker parts. For
instance, some say that Venice is dirty, full of sweaty tourists, even
polluted waters. To me, the dirtiest part was Piazza San Marco. My
memory included that the stone ground from afar appeared to be moving.
In reality, fifty yards closer, I could see it was a mere hundreds of
pigeons viciously attacking Italian bread crumbs fed by eager, elated,
perspiring tourists.
My visit to Venice through Parish, allowed me to appreciate the clichéd
Venetian footbridges and other sites a new way. His whimsical images
are perfectly contrived. No people. No pollution. No pigeons. Of his
several conventional locations, Parish illustrates some of the unseen
and unconsidered.
One particularly unusual piece, oil on canvas, Ecco Echoed (2006),
brings the viewer to an undefined corner of the city within the large
confines of a square frame. Though cornered in this gallery, in this
imaginary corner of the city, Parish's work serves as a refreshing
escape from the unordinary abstractions. Nonetheless, I do feel a bit
lonesome.
Not lone for long, a gondola approaches through the canvas. I imagine
it is my Italian lover on his way to rescue me. In reality, it serves
as a clear Venetian indicator Parish intends the viewer to see.
In Parish's edited depictions he masters the representation of
weathered and layered repairs of buildings with several layers and
colors of paint, viewed best within inches of the canvas. The bright,
triangular stream of light is exciting and surprising, interrupting
tranquil waters. The pale green plane contrasts the peaceful building's
reflection. Again, Parish perfectly edits and explains the
indescribable light of the city, without its darker distractions.
I wonder if Parish has done any work in Paris. It would be nice to look
at an edited depiction of Paris, without being clouded by the darker
parts. No cigarettes. No honeymooners. No pigeons.
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This article was enjoyable. Tom Parish just returned from Venice. He had an Exhibition on the Grand Canal. (nine paintings) On June 3, 2010 Gruen Galleries will have a large exhibition with 15 new works. Put it on your calendar. Tom has been painting Venice for over 20 years. This show will be incredible. Also, Tom has shown at the Gruen Gallery (once Glilman) for over 50 years. You can see his work online. If you want to meet with him it would be possible.