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Francine Tint at Atelier A/E - New York - Brief Article
Art in America, Feb, 2002 by Margaret Sheffield
Francine Tint approaches painting as an act both visceral and cerebral, with a signature brushstroke that is at once explosively energetic and pensive. Her principal influences are Hans Hofmann, Jackson Pollock and Jules Olitski, but her constructive, wet-on-wet stroke recalls Hofmann most of all. Tint layers acrylic into a thick impasto and shapes her forms with jagged, irregular edges that give the work a sculptural drama.
In Human Stain, broad swaths of ultramarine encounter warmer tones in a plaidlike interchange of shifting rectangles. Similarly, the counterpoint of rectangles in Purple Fog yields a lush, active rhythm both in depth and on the surface.
Tint has said, "When I paint, my ego is not there in the sense of self. I go into a primordial dimension." That dimension seems to coincide with nature, which is not rendered in any familiar way but evoked as a dynamic force in swift, urgent gestures and other, more languorously paced brushstrokes. Nature is also implied in subtle changes of light. The iridescent whites of Mother of Pearl derive from observation and from the artist's precise intuition of Renoir's green/gray and pearl palette. Tint also gives some of her paintings the tactile reality of landscape by placing chalk and sand under the paint surface or, as in Easy Travel to Other Planets, sand on top of the paint. For all its material presence, however, Tint's art is ultimately about ecstasy: a sensuous transport in some paintings, such as Mother of Pearl, while in others, like Purple Fog, a mood of transcendence.
COPYRIGHT 2002 Brant Publications, Inc.
COPYRIGHT 2002 Gale Group
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