NEW YORK, NY.- Karma presents an exhibition of new paintings by Verne Dawson, on view at 22 East 2nd Street, New York, from January 8–February 28, 2025.
Dawson’s recent paintings center around a spring near the artist’s home in the Blue Ridge Mountains in western North Carolina. As depicted by Dawson, whose approach, unmediated by contemporary technology, foregrounds the primacy of subject, artist, and paint, the spring becomes a place outside of time, at once enchanted and very real.
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In Karma’s new monograph on Dawson, critic Jennifer Krasinski hones in on the artist’s atemporal ambitions, writing that “he devoted himself to painting because it offers ‘the much-desired possibility to escape time,’ eluding the dupe finitudes (like now and then) and instead calling attention . . . to time’s suppleness.” His monumental canvas Saluda Crystal Springs (all works 2024) invites the viewer to step into the utopic spaces of the spring and painting itself. While the location is specific, the temporality is an open question. Across nearly fourteen feet, swaths of oil swirl and curlicue, together forming a fantastical landscape populated by a number of nude figures in pairs—without clothes to ground us in a particular era, we are further dislocated from time. Vines snake up trees; the waters are vibrantly blue and yellow; the sun bounces off of the top of a distant mountain. As in the monumental landscape paintings from the Song and Yuan dynasties that are among Dawson’s wide-ranging inspirations, the artist hopes to emphasize humans’ diminutive scale in the face of expansive nature.
The calligraphically forested Pot Shoals focuses on one couple as they wade through the springs’ clear water, its aquamarine hue mirrored in the sky above. In the dense trees that frame them, Dawson’s use of the complementary colors orange and green creates a firework-like pop of leaves and vines. Through the Forest represents a procession of figures walking down to the waters in a style that borders on abstraction; clouds and trees billow above and around them in elemental, gestural whorls redolent of Abstract Expressionism. Through his impassioned renderings of the Crystal Springs, Dawson channels a love of nature and a respect for our place in it.
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