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stag and five moons. The intensity of the dream discussed in the written statement doesn’t come across in the painting. I am not at all sure that it is even possible to translate the personal reality of a dream, at once so immediate and unique, into a public art. The tentativeness of the painting indicates that Laurie Marshall may have doubts as well.
The effort to represent the flux of personal symbols achieves heroic proportions in Robin Purnell’s “Portrait of Sally Nash.” Crystal-clear, dream-like images surround a startlingly realistic portrait of the subject. An older man, a young girl, a thrush, mushrooms, a fantastic serpent, a toy leopard and a pomegranate are among the bright images emerging from the thick foliage encircling the figure. Each is rendered with that acute clarity of something seen through the wrong end of a telescope. It’s as if each is being glimpsed through a tunnel formed by a memory and all are united only by some part they are playing or have played in some drama. Stare hard enough at this painting and the central figure itself is swallowed up in the subjectivity and becomes another image the mind is projecting upon itself. The co-existence of these images and their interplay is the
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