– Ronald Anderson –
Ronald Anderson: „ Kirche – Church “ (Acryl on carton; 68 cm x 49 cm; 2000)
Kirche – Church
Ronald Anderson (R. A. / a member of the Chickasaw Tribe out of Tishomingo Oklahoma*) has painted the picture “Kirche – Church” with acrylic paint on carton (with its size 68 cm x 49 cm). When looking at the picture one first will notice, that we have to do actually with two pictures here, since a firm black line seems to separate these from each other on the respective lengthways side of the pictures lying inside. A gap which the artist has inked with yellow color is between the two black lines. He has a cold yellow with a green cast chosen for this and therefore removes it of the powerful colors of his picture contents on right and on the left of this. This stripe going vertically also has become information carrier: We can take the words “Kirche Church” reading from above down.
Is this a painting to the topic called “Church”?
With this question in the back of the head the observer will associatively interpret the right picture page as a part from a church window: A free composition out of bright colors presents itself there against a blue background. R. A. also has the traces of the lead glazing indicated with spontaneously fluent painting gestures – not formulated up. Rather the painting stamped of spontaneity seems to be a ‘fragment with re-reconnaissance’ or a ‘piece of paper’ which ‘captures’ some information briefly. With the ‘quotation’ of a leaded church window, R. A. has briefly sketched symbolically the church building as an expression of the Christian faith. At all events this is my association which comes to me into the meaning when looking. My spirit looks for further notes – on the building for example – at the same time. But the piece of paper “leaded church window segment” floats freely in the room without further notes…
Therefore I let my eyes wander on now to the left picture page. I notice there that the pale yellow separation stripe with its black perpendiculars has been just as spontaneously and almost painted just as gesticulatory like the artist’s way of painting on the right and on the left – almost so as if he wants to overcome the “gap” (see Art Touches Art – 8). Now, while my eyes are suiting a little bit more to the left, to my inner eye spontaneously appears the illusion of a ‘cathedral’!
In my explanations following now to the left picture part I would like to get on the track of the reasons for it.
This left picture page is characterized by a fire, or blood-red background. A change is demanded of the observer here from the intellectual blue (right picture page) to the physical existence (left picture page), carried by the pulsating blood. We recognize two groups of each three people seeking a hold on a mostly narrow room represented with black color. It may be that there are two small bits earths or two small boats from charred tree-trunks. A blue trace under the small boats may point out that these persons sprout on waters. It also could be that their world has got into staggering caused by something and their previous idea of lives has collapsed.
There, where the both saved bits earths, or the two charred wood boats almost meet together, there we see licking flames. And the red of the background appears at this moment as a fire wall! At the same time, I am aware, that from these flames that mystical one heron-like strength animal at once the “Phönix from the ash” upward increases! His trace forms a perpendicular which meets powerfully flourishing life up on his way. I mean the large, round green leaf with that, which is over the person group. In the center of this green leaf two flower flowers have opened fully and, with this they form a white radiation wreath each. I see around these flowers along white buds which form a circle around the flowers in the center, as well as another circle consisting of buds along the green leaf rim. With that, this leaf is forming a powerful center. Alone, the trace of the ‘Phönix’ pulls past it and towers above the green leaf: Because the ‘Phönix’ strives quite up, wanting to get out over the upper picture edge still…
I go back to the lower part of the picture. There, open, curious and confident eyes look at the observer, wide-awake and anyway at eased posture. This unconcerned being filled with confidence, I feel as a great contrast to the represented awkward situation of the person group (as described above). From this situation of instability to escape and to create a new reality requires apart from much strength and expenditure of work primarily courage and confidence in the strengths of one’s own. And this is it what these persons radiate:
Completely put on themselves they rely on their inner strengths. This perfect confidence in a good luck, that is on what the symbolic power of the ‘Phönix’ agrees. From this earthbound existence (lower horizontal), he strives unwaveringly up and leaves his trace (the perpendicular).
New possibilities of development will arise after a certain ‘lean period’: The green of the leaf first refers to a vegetative growth. The many white buds let feel a process of ripening. They hold all sorts of possibilities in it selves and the acting persons will seize what has already been laid out in their dream time unconsciously…
However, this leaf rosette also stands for the nature as a whole of which man is only a part: The jungle regenerates and all living beings, to which he offers living space, follow intuitively these laws of the life, the dream time.
At the moment when my look has touched the perpendiculars and the leaf rosette the illusion of a cathedral – mentioned above – was in my ‘inner eye’ flashed!
The powerfully flourishing life of the leaf rosette – by the simultaneous perception of the perpendicular – both had pulled together my feeling of the idea of a jungle behind the red wall: The height of the trees embodies the upward efforts of the Phönix. Their narrow grouping (of the trees) generate an idea of a raised feeling, same church vaults at the same time: ‘The living space jungle is like a sacred room’ my feeling was. Because, he houses an enormous number of living beings of all sorts of types, and every one of them exists after its / his respective one characteristic nature (plant, animal or native) and nevertheless they form a community, the jungle.
I stop: This ‘head cinema’ has become into existence – alone by the strength of the leaf rosette!
The rosette, she plays a central role within the picture, because she transports energy, centration and is an expression for something being closed in itself! Ronald Anderson has stressed this by placing it so that the whole surface of the leaf spreads to its entire size behind the trace of the Phönix, and by this, reminds at round – or rose windows of the Gotic architecture. In addition its size and height (within the picture) emphasize this meaningfulness of the rosette.
From there, I look down to the persons now. They seem small of shape. R. A., however, has not painted them in a tiny size. And this height of the rosette‘s position, from where one can be aware of the people in „child size“, corresponds with the height position of rosette windows in churches (for: looking from the church spire people would seem very tiny). Exactly these elements of agreement have produced the association ‚cathedral‘: Leaf rosette (size + position), perpendicular (‘Phönix’) and persons (reduced).
The rosette is therefore the eye-level of the observer and forms the reference points mentioned above…
An impressive statement lies concealed in this left picture part! Opposite this the right picture part actually remains one fast ‘formulated’ note. With the painted „fragment of glass“, the artist has nevertheless – not ‘formulated up’ – but something essential as a meaningful feature taken up with this. Something which was artistically developed further and further in the course of centuries: Light and colors had become partners by then. Therefore, the ‘each-other’ of lead window and sunlight developed a heightening of the colors and the color experience, what stimulated a conversation by touching both, the intellect and the heart…
What, however, was the intention of the artist when he with gesticulatory and spontaneously brushwork created this work of art?
As an extremely communicative person Ronald Anderson (from – at that time – Oklahoma) has conceived his painting as a dedication to Kelly Church (from Michigan / see Art Touches Art 3 + 12). His intention had been to express her last name ‘Church / Kirche’ by painting. Therefore is this work intended as a very kind gesture, with which R. A. had referred on legends of the Anishnabe people – therefore on the ancestors of Kelly Church. Interpretation: Renate Hugel
To the Person von Ronald Anderson
Ronald Anderson at work in the studio of the gallery pro art
During the stay in Bremen, Germany in summer 2000
Ronald Anderson has studied art at university of Oklahoma. He has lived many years in the U. S. state of Oklahoma, was there always present with his art and his art actions. Meanwhile, he lives already for some time in Tennessee. The art is for Ronald Anderson like another language, with which he creates experiences, causes joy, gets out memories (nice, melancholy but also grievous) or stimulates people to conversations, also thinking… – – – I will write about examples in later articles. Renate Hugel
Note: * See to this on HOME „Remark to Ronald Anderson“of the 24th 07th 2015
Remark: Current stand: To Ronald Anderson I have written under “Art Touches Art” the contributions “Art Touches Art – 1” and “Art Touches Art – 13”. Renate Hugel