Cassandra James's current show at the Copper Mine Picture Cafe draws its thread of inspiration from the bounty of both nature's sublime forces and the aesthetic of the beautiful. The two very distinct directions appear to be the result mood variations precipitated by personal experiences, and then, as Susanne Langer might say, projected into virtual feelings.
The triptych, "Table Mountain I, II, and III," which measures 66x 102 inches, starts at the base horizon line with a horizontal band of dark blue gray color, about 8 inches thick, running across the width of the canvas, its contoured surface is ambiguous in shape discription, thus creating a somewhat unclear location. Layered on the top of this almost abstract surface, is an area that transitions vertically from a light to dark value, while crossing the canvas in a horizontal arrangement. There is a light in the center panel at the horizon line, its intense yellow color is sandwiched between the dark sky and the darker base; the feeling is definitely ethereal in nature and has the feeling of a vast expansive sky. Above the layer, which defines itself as sky there is a rich layer of cloud like shapes crossing horizontally, almost the full width of the canvas. The clouds are intersected on the far right upper third of the canvas by an unexpected verticle line( located on the right side of a dark shape looming above the seascape below), that, upon closer inspection takes on the appearance of a cliff precipice. Capping the canvas and positioned on top of the clouds, a horizontal band of gray color traces a path across the canvas surface.
The contrast created by the yellow light seascape, and sky above has the effect of drawing one's attention to that area of the canvas, and the lighted area is immediately perceived as a sunset or perhaps a sunrise, which is typical enough except that that afore mentioned cliff precipice seems to be resting on the soupy atmospheric haze that is the sky above the yellow lighted area. The two dominant contrasts, i.e., yellow light/dark sky and straight cliff edge/soft billowy clouds have both separate and interlacing meanings, each schemata funding the other. As one ponders these meanings and their metaphorical content, deeper questions arise, but that is the unfathomable nature of the sublime.
In smaller, later works James studies and works with the patterns and lines of tree stems and cuttings, sometimes dividing the space of the canvas into various irregular natural shapes. These have an immediate appeal that could very well be the result of what Kant defines as the "pure aesthetic," experience, which results before understanding kicks in and therefore is universal in nature. And although Kant wasn't sold on the universal nature of the aesthetic appeal of color, it would be hard to argue that the color use in these works would not appeal to every level visual engagement. These works offer a balance to the "Forces of Nature Series," and provide a different approach to recreating nature.