‘Paintings’ by Payton

Press, 2 November 1989, Page 22

‘Paintings’ by Payton

“Paintings” by Simon Payton in the C.S.A.’s Mair Gallery until November 5. Reviewed by Pat Unger. Visually arresting paintings are exhibited by Simon Payton in the C.S.A.’s Mair Gallery. Dealing with the turbulent meeting of land, sea and sky, they divide into two general categories.

There are those that carry written, often poetic, messages (much in the style of Colin McCahon) and those that convey similar ideas without including words as the lode and lore bearers of meaning and composition, and a few that combine elements of both, such as “Morning brings the first light of day ... gone fishing,” where message more subtly blends with

imagery. This show has some good things going for it — and some not so good. Mood of harbour and human is caught in heightened colour and expressive brushwork. “Morning brings the first light of day ... gone fishing,” and “Blue Blue Water” are bold, rewarding endeavours. Others suffer from use of yesteryear’s popular marks and styles. The om: nipresent “X,” the sharktooth edging and the col-oured-in letter surrounds are contrivances that have lost impact through over-exposure. They also create static or arbitrary passages within painterly flows, giving visual arguement rather than pleasurable sense of tension in control, as can be noted

in “In every land a heart beats.” Then there’s the odd sentimental digression such as “Dance of Dawn,” with its lithesome maiden cresting the waves. It seems out of place amongst more nonrepresentational. and interpretive works. When Payton leaves out contrived marks, "V”s, “X”s and other mannerisms and allows gestured paint to partially absorb message, and compositional structure to dictate rhyme and reason, he achieves a more individual canvas. Those that transcend eclectic distractions and realise a more personal painterly idion, such as “The fourth day saw the lake take his spirit..enjoy strong, more uncluttered impact.