Squeak Carnwath's Artistic Journey: A Unique Path in the World of Painting
Squeak Carnwath, an artist with a unique vision, challenges the notion that paint as a medium is bound to reach its limits. In an interview, she expressed her belief that painting can take on any form, a perspective that has driven her to create something expansive within the realm of painting. This mindset led me to explore her latest exhibition, 'Goddess of All', at the Jane Lombard Gallery, where her work was the subject of an in-depth examination titled 'Painting Is No Ordinary Object'.
Despite her remarkable talent, Carnwath has long been overlooked in the art world, particularly in New York City. The Whitney Museum of American Art and the Museum of Modern Art have notably absent her work from their collections. This neglect may be attributed to her unwavering commitment to the legacy of oil painting, dating back to the Renaissance, and her lack of association with the Bay Area figurative painting or the Funk movement, despite her long-standing presence in those communities. Artists who forge their own paths often face this challenge, as their work may not align with the curator's agenda or the prevailing trends in the art world.
The exhibition 'Goddess of All' showcases 11 square paintings, ranging from 36 by 36 inches to 77 by 77 inches, created using oil and alkyd on canvas mounted on panel. The titles are written on the sides, and even the lines and words appear to be drawn in pencil, all executed in oil paint. Carnwath's artistic vocabulary is rich with meaningful motifs that recur in her work, such as an LP record with a red label, a sinking ship, a 45 automatic with a red 'X', the outlines of classical busts and statuary, a tree stump, bands of color, and abstract patterns. She also incorporates different phrases, like 'guilt free zone'.
One of the exhibition's standout motifs consists of three black silhouettes: Edgar Degas' 'The Little Fourteen-Year-Old Dancer' (c. 1881), the Statue of Liberty, and a crowned figure sitting in a high-backed chair or throne. Each silhouette represents an idealized view of a woman, from an aspiring dancer to a powerful ruler. In her painting 'Ancestors and Future Ghosts' (2023), Carnwath divides the canvas into two unequal areas, symbolizing the passage of time and the interplay between the past, present, and future. The left side depicts the three silhouettes, surrounded by writing and the black outline of an unidentified female figure, all set against a salmon-colored background. This composition serves as a repository for graffiti, images, image fragments, and overheard snippets of language, reflecting Carnwath's interest in the interplay between the tangible and the abstract.
Another painting, 'Ancient Fragments' (2025), is filled with red outlines of Roman busts, goddesses, insects, flowers, and a motif of two genderless faces passionately kissing. Two disembodied eyes gaze upon the word 'insight'. Carnwath's work invites interpretation, as seen in her statement, 'Our bodies are our own', which appears alongside the phrase 'a sovereign territory' on the lower right side of 'Our Own' (2022). This statement, 'We are the sovereign rulers of our own bodies', suggests a powerful message about personal autonomy and the transformation of the world.
Carnwath's paintings reflect her deep understanding of the world's evolution and her commitment to painting, even in the face of chaos. The sinking ship in 'Our Own' represents the inevitable changes occurring in society, while the black outline of two faces kissing against an off-white ground and the crimson lips symbolize the delicate balance between order and chaos. Despite the challenges she faces, Carnwath continues to create art that speaks to the present, honors the past, and speculates about the future.
The 'Goddess of All' exhibition continues at the Jane Lombard Gallery (58 White Street, Tribeca, Manhattan) until February 28. This exhibition is a testament to Carnwath's unique artistic journey and her ability to create thought-provoking and visually captivating work.
