entered the American art scene with a
one artist show in 1957 at the Brata Gallery
in New York City and has been showing
her paintings and prints ever since from
Rome to Tokyo. She has also hung in a
number of important museums such as the
Museum of Modern Art and the Whitney Museum
in New York, the Museum of Modern Art
in Tokyo, the Allentown and the Everhart
Museums in Pennsylvaina, the Aldrich Museum
in Connecticut, and the Guild Hall Museum
of East Hampton.
Various critics have called
attention to anumber of influences in
her work including the Luminist landscape
painters of the late nineteenth century,
to Kandinsky, to deKooning. this writer
would add Burchfield and Dove to the list.
However, so wide a range of styles and
personalities suggests that Ms. D”Vorzon
is deeply cognizant of the historic tradition
and that she assimilates influences rather
than copying others.
artistic beginnings were at the time of
the emergence of the so called New York
School which brought with it a greater
interest in artistic development in the
United States. The movement included both
geometric abstraction and the more flamboyant
and passionate abstract expressionist
style in which the artist “thought
in terms of symbolic equivalents of rational
forces and symbolic states”.
The modern movement in
America was about fifty years old. Arthur
G. Dove had painted what may be the first
truly abstract work in the world in 1910.
(Kadinsky in Europe began paintingabstractly
at about the same time.) Dove’s
paintings were based on the natural landscape,
but he did not remain unique in the abstract
style for very long. Within a decade such
painters a Marsden Hartley, Joseph Stella,
Morgan Russell, Stanton Macdonald Wright
and others were painting in the abstract
vein. While not fully abstract, the paintings
of Georgia O’Keefe, John Marin,
Abraham Walkowitz and Charles Burchfield
distorted nature to coincide with their
own sensitivities and vision. To this
mix was added the surrealist movement
brought fjjrom Europe by artists fleeding
from the Nazis.
burst upon the American scene in the 1950’s.
But the movement did not spring full blown
in an instant nor did it occupy every
artist painting at that time. Throughout
the ages an expressionist and geometric
appporach to the act of creating art have
run on parallel tracks, one being in the
ascendency for a time and then the other.
Abstract and expressionistic qualities
have been found much earlier.
artistic beginnings were in the abstract
expressionist movement, a movement which
too many critics have seen as an isolated
phenomenon of great influence, but short
duration. She well understood both the
psychological and spacial implications
of the movement, but in her later work
she has added an intensly personalized
vision of nature and its sexuality and
force. She sought to personally partake
of the experience of nature. While a city
person, Ms. D’Vorzon summered at
the Springs, near East Hampton, Long Island.
It was a section of Long Island that attracted
a number of New York artists working in
varous styles. The natural and uncultivated
beauty of the place was the force of its
attraction as well as a very special quality
of light. Ms. D’Vorzon continued
her search for the experience of nature
both on Long Island and in the Florida
Swamps which she discovered on a visit
and to qhich she frequently returns.
Her fascination with images
of water and particularly swamps has led
her to immerse herself in her subject.
The Impressionists painted a single subject
in every conceivable light. Ms. D’Vorzon
has viewed swamps fromevery possible angle,
from flying above them to traveling over
them in a small boat. she has photographed
and sketched tirelessly until hse has
partaken of the essence swamp. She says
that she wants to experience nature rahter
than to depict it.
While women artists of
past generations have considered it a
compliment to be told that their work
was “strong like a man’s”,
Ms. D’Vorzon glories in her femaleness.
She relates to the primal forces in nature
and produces paintings of equal force.
The force of her feeling of being within
nature that is both beautiful and terrigying
has produced a body of fwork glorious
in its color and frantic in its rendition.
Ms. D’Vorzon usues her paint with
great abandon. It drips and swirls, is
transparent as water should be, and yet
in other areas, it is thick, almost harsh
as it comes from the tube. It is a strong
and jpersonal expression of a deeply felt
Eva Ingersoll Gatling
Curator for the Exhibition