One who sees
December 8, 2010 § Leave a comment
“We are enveloped and drenched in the marvelous, but we do not see” is a quote by Baudelaire [painter Terry Miura notes in his blog. He continues:] It’s also the opening line of a review of my first West Coast solo show, an exhibition of cityscapes and architectural themes, which took place some thirteen years ago at the Thomas Reynolds Gallery in San Francisco.
It was written by Mr. William Whitney, an art historian and former executive director at the California Historical Society. He said some very nice things about my work, and for a young upstart like me, his words were a tremendous confidence booster.
But as the years passed and I became older and more experienced (and hopefully, a little wiser) I began to feel that his generous praise of my work was… well, too generous. Try as I might, it became increasingly apparent that I couldn’t live up to it. Eventually, I gave up painting cityscapes and turned to landscape painting, hoping to learn new things in a completely different context.
Well I learned a lot, and still am learning every day. In the past few years, I have been attempting to return to the cityscape by applying what I learned from landscape painting to my cityscapes. The quality of light, color, edges, and abstraction are high on the list of things which make my new city paintings different — and much, much closer to my own identity. I’m encouraged that this time around, I have a fighting chance of living up to Mr. Whitney’s original review.
Terry Miura Is One Who Sees
“We are enveloped and drenched in the marvelous, but we do not see,” Baudelaire has said. The artist Terry Miura sees, and he achieves one of the prime functions of the artist by enabling us to see the familiar in a new light.
Miura endows arches, pediments, columns and doorways with a kind of timeless poetic nostalgia and uses their abstract potential to achieve compositions that compel our attention. The nostalgic mood is heightened by understated muted color and by the lone passerby, alienated and oblivious of the scene and unaware that he is being observed — another who does not see.
Miura’s original vision is enhanced by a thorough mastery of his craft. These paintings live in the viewer’s mind — a quality not often found in the frenetic world of contemporary art.
— William W. Whitney