From heroic to symbolic, Chi's classic figures have charm and spontaneity Posted by James R. Nelson -- Birmingham News July 27, 2008 12:04 AM
James R. Nelson is visual arts critic for The Birmingham News.

JENNY CHI: NEW PAINTINGS AND DRAWINGS
Hawthorn Gallery. Through Aug. 9.

The paintings and drawings by Jenny Chi are easy to describe and difficult to categorize, other than to say they deal with heroic allusions to love and death. In this exhibition, Chi concentrates on classical themes, with symbolic figures representing the four seasons or characters of Greek legends and an occasional reference to biblical characters and Renaissance classics.

Stylistically, Chi may well be labeled a romantic realist, in that she paints idealized images of gods and goddesses with hard-edged clarity. Most of her figures are discretely nude, following the rules of finely tempered eroticism typical of 18th century French Baroque and Rococo salon painters.

The centerpiece of the show is a large, circular painting of "Paolo and Francesca," taken from a tale in Dante's "Divine Comedy." The sated, doomed young lovers are shown lounging in a forest setting, barely covered by some strategically-placed drapery. Paolo leans against a pedestal that has a medallion portrait of Dante carved on its surface. Francesca is literally draped across Paolo, accenting their tragic love affair. The stylistic affinity with painters such as Francois Boucher is obvious.

There is a small version of this subject on view. In some aspects it seems more fresh and spontaneous, but it is also flawed by a Baroque mannerist elongation of Paolo's body and a more somber, stark setting.

A number of paintings are full, three-quarter and bust studies of classical figures.

While not necessary, a copy of Edith Hamilton's "Mythology" can be of great help in understanding the symbolism associated with these various characters. Chi paints youthful, imaginary images of Narcissus, Galatea, Pygmalion, Thisbe, Dionysus, Apollo, Zeus, Orpheus, Aphrodite and Paris. They are vibrant specimens, though not always handsome in the conventional sense. The intense realism is pensively lyrical to the point of being slightly over the edge. The images, particularly the male figures, have delicate, juvenile faces with well-developed bodies.

Several red chalk drawings of heads have the delicacy and charm of similar works by Fragonard and Nattier. Chi is a clever and sensitive draftswoman who uses red and black chalk to great expressive purpose. Many of her paintings place figures against turbulent skies. There is a heightened feeling for form that is characteristic of fresco painting. Edges are crisp and the modeling of flesh is chastely voluptuous.

A large work, "The Lost Messenger," presents a youth sitting on a barren rock. The allusion to Mercury is obvious in the winged ankle ornaments. The messenger holds a triangular origami wedge universally familiar as a child's homemade toy airplane. The sense of abandonment and desolation is more lyrical than intense.

Chi blends classic form with an amoral sensuality that creates a kind of vivid reality. She reveals a highly accomplished aspect of illusionism.

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