Mirror c. 1936

Nicholas Gorid's "Mirror" is rendered with brown ink on paper. The artist coaxes out the material potential of the ink, using it to build up areas of tone, depth and texture with an exacting hand. I am really drawn to the frame of this mirror; the artist's process feels palpable. Look closely and you can see how the ink has been applied in tiny, almost obsessive marks. It’s as if the artist is trying to conjure the very essence of wood grain, its knots and swirls, through the sheer repetition of these lines. The upper section has been delicately cut away to create an ornate profile. This area contrasts with the rectangular frame, adding an element of complexity to the composition. I'm reminded of the work of Joseph Yoakum who was active in the mid 20th century. Yoakum's visionary landscapes share a similar sense of meticulous detail. Both artists embrace the act of creation as a form of meditation, exploring the potential for art to transcend the boundaries of representation and engage with the viewer on a deeply intuitive level.