A studio visit prompted these thoughts about Josephine Halvorson’s paintings, which Nancy Princenthal has characterized as “resolutely airless and mute.”
Halvorson depicts close-up views of largely flat surfaces, often with a rectangle framed within the painting’s rectangle. In addition to conveying little depth, the surfaces usually contain a space we cannot see into, or they feature a closed door or doors. These tensions inflect our experience of the artist’s work, with its slow dance between the visible and the hidden, and between sight and touch. She seems to want the viewer to smell her objects as much as see them, to become familiar with the scarred and punctured surface (or skin) of their silent “faces.” For her, painting isn’t confined to sight. She lives in a world of things, not images – a three-dimensional realm far removed from the flattened realm of popular culture and the mass media.