Interiors Exteriors’

Press, 7 December 1987, Page 18

Interiors Exteriors’

“Interiors Exteriors.” An exhibition of prints by Natham Crossan and Lorraine de Vorms at the C.S.A. Gallery until December 13. Reviewed by Pat Unger. Natham Crossan and Lorraine de Vorms together present an exhibition of printmaking at the C.S.A. Gallery. Natham Crossan’s eight works continue the experimental approach seen in his previous show. His surfaces are visually bolder. The ever-appeal-ing indulgence of embossing and torn paper edge are absent here, but in their place are a complexity of textures and tones. Centrality in each work is maintained by differing sets of geometric forms that balance and restate a printed background of tonal colouring. They are somewhat reminiscent of the passage of patterned clouds and light over the reflecting surfaces of high-rise modern buildings.

Where the colours are complementary or in a limited range, the works are united. Where strong contrast is used, the geometric forms and their textured grounds fall into

a series of component parts. Judicious use is made of small symbols. They are the logos of Crossan’s private imagery. Circular saw blades, a knife and fork, a jigsaw piece, a compass, set square and other whimsys add notes of interest.

By printing on to canvas the surface is kept lively, and torn edges with a few threads here and there become decorative elements. These personal touches are enjoyable. They make the prints more than just an involvement with technique and colour experimentation. Large charcoal life drawings and coloured woodcuts and lino cuts, featuring the interiors of homes and public places — all framed for maximum enhancement — are shown by Lorraine de Vorms.

Many show a competent if conventional style of cutting into the wood. Strong line markings delineate perspective and volume. Colours are muted warms and cools. The rooms appear formal with only an unmade bed or a crumpled carpet disturbing the order of life

and the tutored cutting of surface. Several of the interiors are reminiscent of the late Jan White’s work, but they lack her sense of expansiveness. But de Vorms is aware of this. Formality is not exactly what she wants. “Lighting the fire — Clare’s Place” uses bright colours. The composition is simpler. The markings are more direct and not unlike the work of Claudia Pond Eyley.

It is in the “Blue Cafe” and the “Occidental Hotel” that de Vorms finds her individuality. By painting her images on to bison or customboard and then cutting the painted brushstrokes, she achieves a looser and more animated surface. Her cut and torn marks print up with a random charm. The greys, yellows, brown and pinks are soft, the works are understated but compelling. They have a wild order about them that promises well for the future.

The life drawings are similarly competent, if conventional. They do their bit to make this exhibition one of visual interest.