Magnet: something which can repel or attract. An object which enacts a force. Gravity, pull, push. Order. Field: openness, nature, space. Breath.
Magnetic Fields: tension.
The title object for Magnetic Fields, a large painting by Mildred Thomas, is unabashed. Color and energy force viewing. Look! Look at me! I am red and yellow and sunlight and confetti. I am energy trapped in a medium that will never truly dry. I am heat. Attracting. Come closer – feel it? Look into my vortex and see how light looks to its source. This is a brilliant blanket, hung on a wall, wrapping you up.
Color to color. Red becomes purple. A tornado of dashes becomes a performance on canvas. Graffiti has peeled itself off walls and run away. Movement upon movement – brushstrokes meet squiggles meet loops meet drips that would impress Jack the Dripper himself. Despite the chaos and the frothing noise of the painting – the composition threatening to whirl itself into oblivion (attracting, repelling) – there is an undoubtedly elegant element to the work of art.
This is what it would look like to give a paint bucket to a ballerina in full costume, and let the paint and the tutu and makeup and the hair accessories and all of the love work itself up into a twirl and a launch and a landing, all with haphazard grace. The canvas can always be trusted to lift and catch its partner.
Pointed and pressured toes lead to feet on fire. Then not a fire, but only whispering embers. Near by a canvas sputters and steams. A bucket of water has been thrown on a neon fire. Multicolored sparks ignore gravity, repelling, and escape into the breath of the viewer, attracting. Ash and light and time are suspended as the paint bleeds and blossoms. Here we have the the definitive record of a dying gasp – systematic and explosive all at once. Study it.
Are you attracted or repelled?
Downstairs, beneath the push and pull and color of Magnetic Fields, Fanny Sanín’s geometric abstractions are so clean and sharp that you could cut yourself on them.
“Magnetic Fields: Expanding American Abstraction 1960s to Today” is on view at the National Museum of Women in the Arts in Washington DC until January 21, 2018.