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Annette Lemieux at McKee - Brief Article
Art in America, Oct, 2001 by Edward Leffingwell
Walking on Water Revisited (2000), Annette Lemieux's 16-by-25-foot, black and white, water-based dye print on muslin, was spread out along a gallery wall and rolled onto the floor like a photographer's paper backdrop. In this image, the artist, strolling on a shallow stretch of Boston's Charles River, appears to be walking on the serene expanse. Parallel to and beyond her solitary progress, a band of trees and buildings occupies the distance. A young couple is seen to the right on something like a jetty, approaching the viewer's space. Lemieux's left heel is raised in the photographic moment (late afternoon, judging by the length of shadows), and her figure reflected in the water with its slight turbulence extends like quicksilver spilled before her. Land, water and sky sweep across the muslin's expanse. The scene suggests the currency of memory and passing time. Actually picturing Lemieux in the process of removing a sited work, it served as introduction to her recent photo-based survey, "Scapes."
Lemieux repeated images of water and sky as primary elements in two separately conceived, mural-sized, water-based dye print images on unstretched, scrimlike drapes or "sheers." Intending that the viewer share her photographic experience, Lemieux introduced mechanical breezes generated by two ordinary oscillating fans placed at angles to these 9-by-15-foot panels, which roiled the fabric in vaguely cinematic motion. One fan's pulsing failed to stir a flock of birds that patterned a large segment of the sky in 4 P.M. (2000-01) like a still from a Michal Rovner projection or from Hitchcock's The Birds. The second fan generated a semblance of underwater movement in Atlantic (2000), scrim rippling along the flow. In neither instance did Lemieux attempt to overcome the pedestrian nature of the device or the thinness of its conception.
Approaching mural scale at 73 by 50 by 12 inches, Fall (2000) is water-based ink on muslin over a bowed wood panel. Its richly hued image from a photograph by filmmaker Ross McElwee depicts Lemieux slung on a robust tree stump like a carcass on a butcher block, an anonymous building and foliage enclosing the landscape beyond. Like the tresses of some Pre-Raphaelite Madonna, Lemieux's abundant red hair cascades down a corrugated length of bark. This hint of mayhem offered a counterpoint to a chromogenic print, Lily (2000), in which a very young girl, hair upswept and adorned with bright clips like butterflies, lets slip a few tendrils of fine blonde hair in the simple exaltation of innocence and as portent to its loss.
COPYRIGHT 2001 Brant Publications, Inc.
COPYRIGHT 2001 Gale Group
