Art review: Tina Ingraham’s brush with the mortality of nature
Art review: Tina Ingraham’s brush with the mortality of nature
The landscape painter’s autumnal palette is on view at Greenhut Galleries in Portland.
by Daniel Kany
“Dune” Photos by Kenneth Woisard Photography
Tina Ingraham’s “Rocks, Trees, Sand & Sea: Popham to Blue Hill” at Greenhut Galleries is an exhibition of handsome landscapes rendered in a loose, atmospheric style with a limited palette. Ingraham has a big-tent mark-making toolbox. She uses brushy washes. She trowels and scrapes with the palette knife. She glazes. Sometimes she paints directly. She often punctuates with thick dollops of impasto that stand up from the surface of her work.
Seeing the landscapes in a series, we notice the erosion of the literal landscape, most specifically at Popham Beach. But Ingraham’s nature is neutral. It erodes and destroys no less than it grows and thrives. In “Threshold,” a large tree root pokes through the edge of a dune; the old tree is doomed by nature, which will, in its own geologic time, wash away its ground. “Sentinel in the Sun” depicts a wizened sand fence degrading and fading into the dune it was meant to protect. In “Dune,” we see the (same?) dune splayed open by the vicissitudes of coastal time: The berm that has long held a stand of trees is disappearing, and at some point, so will they.
Read the rest of the article here: https://www.pressherald.com/2017/09/17/tina-ingrahams-brush-with-the-mortality-of-nature/
“Tanglewood Afternoon, Lincolnville”
“Threshold”