REVIEWS
“This new show features a fresh collection of the artist’s brilliantly colored, acrylic on canvas landscapes paintings, which have been highly regarded and well received. The paintings continue to be the questions: representation or abstraction? In either case, the use of deep, vibrant colors follow Cruson’s exacting artistic sense, rather than the laws of nature. This along with the use of well-defined shadow-less shapes, and changing perspective leads one to opt for abstraction. However observers often have a strong feeling of ‘having been there’”.
“Cruson has a touch of artistry that defies logical explanation. His work ignites a spark of creativity that touches a deep core of remembrance and sensitivity. His paintings need embellishments nor gimmicks. They are what you see, an appealing blend of precise expression alive with rich colors and evocative realism.”
“While remaining representational, Cruson” paintings tend to the abstract, a double pull that is one source of creative tension in his art. Compositions and design have primary over precise representation. He plays with shapes, line and color to create vibrant yet serene patterns, and his concern with composition leads him to ultimately question the nature of representation, especially perspective, in some works.”
“Cruson’s compositions are based on almost geometric patterns of well-defined color areas corresponding to hills, fields, hedges, roads, rivers. Space is constructed as a series of tight-fitting, colored shapes, flat rather than shaded areas of color with little sense of volume, reminiscent of space in traditional Japanese art. Except for trees, there is no modeling, no representation of light and shadow. Notwithstanding the cast shadows of trees, light imbues these landscapes uniformly. It is the land itself and its properties, independent of light, that interest Cruson.”
“This new show features a fresh collection of the artist’s brilliantly colored, acrylic on canvas landscapes paintings, which have been highly regarded and well received. The paintings continue to be the questions: representation or abstraction? In either case, the use of deep, vibrant colors follow Cruson’s exacting artistic sense, rather than the laws of nature. This along with the use of well-defined shadow-less shapes, and changing perspective leads one to opt for abstraction. However observers often have a strong feeling of ‘having been there’”.
“Cruson has a touch of artistry that defies logical explanation. His work ignites a spark of creativity that touches a deep core of remembrance and sensitivity. His paintings need embellishments nor gimmicks. They are what you see, an appealing blend of precise expression alive with rich colors and evocative realism.”
“While remaining representational, Cruson” paintings tend to the abstract, a double pull that is one source of creative tension in his art. Compositions and design have primary over precise representation. He plays with shapes, line and color to create vibrant yet serene patterns, and his concern with composition leads him to ultimately question the nature of representation, especially perspective, in some works.”
“Cruson’s compositions are based on almost geometric patterns of well-defined color areas corresponding to hills, fields, hedges, roads, rivers. Space is constructed as a series of tight-fitting, colored shapes, flat rather than shaded areas of color with little sense of volume, reminiscent of space in traditional Japanese art. Except for trees, there is no modeling, no representation of light and shadow. Notwithstanding the cast shadows of trees, light imbues these landscapes uniformly. It is the land itself and its properties, independent of light, that interest Cruson.”
