George-Marie Glover:
Existing in Multiple Planes

Anderson Glover Gallery, Kirkland
April 10 - May 18


Palace (1996),
watercolour

IN AN ARTIST'S statement, George-Marie Glover observes that her "work is primarily about colour," although it would be safe to additionally gather that her familiarity with figurative life-drawing is so considerable that she has turned it into a kind of spontaneous, fluid shorthand which treats surfaces and volumes with extreme maleability. Her colour is applied in high-keyed, Fauvist intensities as she segues to nailing down composition and collaging up texture that sometimes becomes literally three-dimensional -- sculpturally draped, shrunk tissue on freestanding grid armatures. These are often wrapped in assymetrical or painted borders and the rigorously worked montages derive an almost fetishistic power.

A gallery owner as well as an artist, Glover addresses both the pleasures and the difficulties of functioning on multiple planes as a woman: daughter, wife, lover, mother, friend -- and facilitator -- expressing these multiplicities in the rich, Kandinskian colour-vernaculars.

While Glover possesses a solid arts-educational background and an enviable history of exhibitions, there exists in her work some hint of "the outsider," that is to say some inner-directedness -- as demonstrably meditated as it is meditative. Fetishism may be too strong a word, but the magical, incantatory allure of Glover's statements exist substantially outside the institutional framework of many current artistic issues and ideas.

© Ted Lindberg