Bea Wades In
“Bea”, the clothes peg ballerina is no longer merely an observer, as in the prior series Bea’s Reconnaissance. Whereas before Bea was found frozen in space, looking towards impending threat or salvation in that moment before action or consequence, here she has become directly implicated in her surroundings. Engaged or otherwise, Bea’s mere presence renders her susceptible to the vagaries of conflict.
The triptych Yield, Sortie and Alert is a non-sequential chronicle of a journey in stages of observation, action and reaction to unseen ircumstances in enigmatic landscapes. Through the scenes in this (mis)adventure, Bea’s limited expression reveals emotional currents of human proportion.
In another group of paintings on paper, somewhere along the line Bea has lost a leg in unknown (though most certainly violent) circumstances. She has also taken up arms; strangers have tended to her wounds; she has fled with villages with the protection of a gas mask, and consoled an anguished man. These recordings, rendered in oil stick and pastel, are suggestive of dispatches from frontlines where calamity leads to mobilization.
Jennifer Waters, painting, still life, Parsons, The New School, MFA, text, art, artist