Artist profile Abstract Art Online
October 2003  Betsy Weis – Emotional Vistas

By Joseph Walentini

Consider this: If Emily Bronte took up abstract art she might have produced paintings somewhat like these: at least in terms of generalized subject matter. In some, for example, you see references to broad, open landscapes; a light and dark division of earth and sky as defined by a horizon line. But this is only an entry point in which to extend your view beyond an impression of conventional landscape. Rather, they might be seen as depicting emotional vistas possessing a brooding psychological make up that has much in common with Bronte’s literary depictions of her English moors. Overall there is a generic suggestion of natural elements: water, earth, clouds, etc.

Perhaps another way to regard them is as gothic, romantic dreamscapes or even as undefined memory. Such places, as magnificently referenced in this work, exist only in the nether regions of the imagination. It’s Weis’ sepia tones and softly luscious gradations of blacks, whites and the magnificently understated color, only hinted at, that take you there. On the other hand, some pieces such as Escape take on characteristics that border on the religious. Notice how this painting contains the same rich luminous quality of ancient stained glass; sans the bright color.

In writing about her work, Weis states “…I have been refining an abstract language in which the luminous, textural and plastic qualities of paint are used to represent the natural world. Water is my primary reference. Depicted simultaneously from above and below, water reflects the light which penetrates its atmospheric layers of rich dark color. Light is painted as it enters and moves through deep fluid space.”  This uncomplicated assertion, like the paintings themselves, leaves a generous array of interpretations open to the viewer.

A fascinating aspect of these paintings is how Weis is able to derive so much variety from so few parameters. Figuratively and literally each piece establishes a relationship between light and dark. Read what you will from this but the artist employs a great deal of imagination in how the contrasts are played out. For example, a painting like Dusk creates a clearer delineation between light and dark then does Tide. In the latter piece a quality of deep space is established. The same is true of Dusk, of course, but the treatment is completely different. Seventeen distinguishes itself as more architectural as does Access to a certain degree. These are not merely variations on a theme. Rather, Weis has established her style and found her sensibility in an equally reductive mix of palette and forms.

A couple things cut to the meaning of this work. Begin with the sublime presence of visual rhythms. Indeed the titles Swimming and Tide allude directly to this especially as to motion and water. It is Weis’ subtle, myriad iterations between light and dark and various discreet color combinations that establish a sense of gentle, contemplative movement. This is achieved in a couple of ways; the forms draw you in and out of the space while your eye is simultaneously led across the picture plane. Because space is only vaguely defined you are never quite certain where the forms are located in it. The indetermination of this treatment keeps you off balance to create a sense of falling; visually and emotionally (as the aptly titled Falling demonstrates). The effect is a bit mesmerizing and you recognize these paintings as establishing a connection between Rothko (especially the last canvases) and Renaissance painting (think of Da Vinci’s contrasts and paint handling in the Mona Lisa, to use one very obvious example).