Doris Lusk paintings

Press, 20 October 1987, Page 24

Doris Lusk paintings

“Painting,” by Doris Lusk, at the CSX Gallery, until October 25. Reviewed by Pat Unger. Doris Lusk’s latest exhibition of work at the C.S.A. Gallery is an invigorating display of freshness, control and experience. Many play an easily recognised tune, but in a different key. They are orchestrated to express the best of a regional melody, or a figurative harmony with perception and skill controlling the loud and soft pedals. Not surprisingly the technique of counterpoint continues to play its part Sharp or unfocused, washed or linear, vague or precise, these stylistic ploys are there to balance and enhance her composi-

tions. Splatters, blobs and brushstrokes, along with decorative mark and pencil line, define areas of indefinite landforms, washed waterways and domestic interiors. This constant movement between detail (often in allusion) and understated space is exciting. These are not the spiritual landscapes of McCahon or of Bensemann’s graphic order. They don’t carry the urgent spontaneity of Sir Toss Woolaston’s canvases. But they have the logic of an appraising glance. Lusk sees the essential symbolism that is there. She then reconstructs her scene with intelligence, imagination and charm. Late afternoon light on

the white cliffs of the “Taranaki Coast,” summer at “Lake St Bathans,” the winter blue of a “City with Frozen Lake” who can resist them? The portraits have intimacy and tension. Eyes stares at the viewer or look into, or beyond the picture frame. A tablecloth, beautiful in its patterned vagueness, is part of a domestic setting which is as fresh as it is eternal. Her colours have an Eve Page clarity, but her table is more limited. This highlights strengths without the dazzle of virtuosity. The portrait of Anne McCahon in “Return to Otago” against a backdrop of the Otago Peninsula is haunting. The “Model Resting” has a flow of line

and use of colour that reminds one of Matisse’s relaxed style. The emptiness of these landscapes is suffused with life’s reason; the figures grouped about are united by warmth against backgrounds of nostalgic association. Lusk dispenses with detail as she sees fit, and puts her own frame of artistic reference on subject matter where she will. She moves with ease about her canvas, playing it like a well known tune, with surprising variations still to be explored. By constantly re-establishing her private relationship with artistic reality, she paints works that are personally compelling and publicly pleasing. A strong exhibition.