Review of Labyrinth
By Ariana Shirvani
While driving on the various highways and byways that make up the Dallas metroplex, have you ever stopped to consider what it is that binds everything – person, place, car, and idea – universally? Well, Madeleine Terry, a local artist working out of Richardson, is creating artwork that posits compelling answers to quintessential questions such as this one. If you are interested in peering into Ms. Terry’s rabbit hole, I suggest you make a trip over to Haley-Henman Gallery on your next available afternoon.
Until May 1, at Haley-Henman Gallery in Oak Cliff, Ms. Terry’s thought-provoking artwork will be displayed in an exhibition entitled, Labyrinth. Incidentally, this is Terry’s first one-person show. When asked why he chose to open a door in Terry’s career by featuring her in a solo show, John Marcucci, the gallery’s director, stated that there was a thread in Terry’s artwork he felt needed to be showcased in order to grasp the profundity of both Terry’s talent and mission. Indeed, Terry approaches her artwork from a unique perspective – from that of a ceremonial leader who, “facilitates] personal growth experience through art and ritual.” In this particular case, her experiments with various creative processes serve as the art, and the ritual is the Labyrinth installation in its entirety. Although this is her second career – Terry previously worked as an art teacher, she proves herself to be a tremendous artist with an insightful vision.
Labyrinth is a meaningful inquiry into the worlds of metaphysics and spiritualism. For the purposes of the exhibition, the gallery has been converted into a labyrinth, which provides for a positively extraordinary experience. The space is cool, crisp, bright, and almost ethereal: if the electrifying, densely nuanced, quality of Grizzly Bear’s “Colorado” could be transformed into tangible space, it would be Haley-Henman Gallery as it is today – with Terry’s Labyrinth housed within it. The lavender color of the first room is invigorating; particularly, as both incandescent and natural light collide, tumble, and enmesh themselves on and around the objects exhibited there. A wall comprised of thickly layered cellophane sheets hangs from the ceiling – across these laminae (at various depths and levels of visibility) are a multitude of statements from the artist. This wall acts as a visual guide, leading gallery viewers to the entrance of the exhibition. One is availed of Terry’s medicine wheel here: it symbolizes kindness, and is protected by an outward circle of mystical rocks and the ever-dancing flame of a candle. By passing through an opening created between cellophane layers, at the foot of the medicine wheel, the viewer embarks upon a spiritual journey fostered by Terry’s artwork.
Not too far into Labyrinth, the viewer comes to understand what a whirlwind force Terry is. Terry’s extensive knowledge and mastery of artistic processes is superbly captured throughout the installation. She effortlessly shifts from one medium to the next – and does so as frequent and divergently as Texas weather changes. Each piece, whether it be prisma-color pencil on paper or mixed media, is tediously rendered – to the point of flawlessness. In her artwork, Terry also successfully harnesses her zeal for life and mysticism in order to produce the most stimulating pieces. Terry explores the mysteries of the universe through the substantial use of various symbols and ideas without coming off as contrived, or esoteric. Her childlike enthusiasm is encapsulated in her artwork; and, it nurtures, rather urges, the viewer to take that second look – to separate himself, or herself, from the pretenses of adult life so as to approximate a reality that is deeply imaginative and full of possibility. By the time the viewer reaches the center of Labyrinth – a place traditionally associated with enlightenment, or self-discovery – it is clear Terry is an artist with a bright future ahead of her, one that promises even more evocative and captivating artwork.
Undoubtedly, there is something for everyone at Madeleine Terry’s Labyrinth exhibition. Her artwork is organic, challenging, and true to various disciplines. The trained eye will be delighted by subtle allusions to Monet, Whistler, Moore, Cornell, Haring, Rauschenberg, and several other masters. Those who appreciate philosophy, metaphysics, history, and anthropology, will find their interests succinctly captured. And, for those who cannot help but love kitsch – myself included – there is a monumental, 300-pound cat still looking for a loving owner and home. Although there are many to choose from, some other exhibition highlights that call for mention are: Ice Forming; Passing; After Effects: The Bomb; and, Let Our Sisters.
Madeleine Terry’s Labyrinth will be on display until May 1, 2010 at Haley-Henman Gallery: 2335 Hardwick Street, Dallas, TX 75208. Gallery hours are, Wednesday through Saturday, noon to five p.m.; or, by appointment: (214)-749-1277.
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