The show surveys two decades of work. Bruton’s Chandelier (1996-’98) has a sort of patchwork surface as she builds up layers of collage and a thickly stenciled curling, floral wallpaper pattern. The main motif is a sketchily painted chandelier on the right side. It combines for a feeling of passing time and evaporating memories.
At times, Bruton’s composted imagery becomes muddled. But recent landscape paintings find a subtle balance of incident and openness, of thick and thin, of improvisational and planned. In Untitled Landscape III (2010-’11), rings of smoke or clouds hover in the air above little islands of stenciled sweet, white flowers.
In another watery scene, Untitled Landscape IV (2008-’10), white islands are topped by daubs of paint suspended in thick puddles of clear gel stuck onto the wood she’s painting on. And she lets the attractive grain of the plywood veneer show through thin golden and rosy washes of paint. It evokes the feeling of glowing, golden sunrises over flat high tide seas.
Follow Greg Cook on Twitter: @AestheticResear.