In Dichotomy, Krasner offers a lyrical expression of powerful creative forces. The curvilinear and rounded shapes evolve intuitively, sometimes creating figure 8's or infinity signs. The dynamic play between the foreground and background fills the entire canvas creating a rhythmic dance of paint. There is no beginning and no end, rather a cosmic expanse of symbols that hint at an infinite variety of meanings and interpretation. The rich maroon red pigments of the present work mix into a deep rose and spread smoothly yet inconsistently across the canvas. The vivacious movement and use of raw canvas peeking through certain areas enhance the appearance of movement and depth. The composition is filled with dynamic interwoven brushwork, grand-sweeping arcs that redirect volumes in biomorphic, expressionist and post-cubist manners in their suggestion of shapes and pictorial depth.
Krasner's paint application seems meditative in its use of monochromatic tones, and yet the all-over layers of paint reveal the artist's primal, cathartic impulse – quite a departure from her longtime practice of methodically reworking a canvas. Perhaps the figurative meaning of the title, Dichotomy, alludes to the dual nature of her technique. Or perhaps it speaks to the dichotomous nature of the work with that of her late husband, Pollock. The explosive quality of Dichotomy vividly projects her turmoil and inner rage stemmed partly from her tempestuous relationship with Pollock, while simultaneously evoking his painterly gesture and emphasis on opticality, indexicality and totality.
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