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denote distance, all with success.
"Orchard Edge" (Catalogue #K-3) a mixed media collage, recalls distant morning views of Rappahannock's own orchards. Other works are more challenging. In "Red Lane" we are met by interwoven subdued jeweled colors, and sea-green fields from which vibrating red trees pop. There, I say "green fields," but it's hard to say what color any patch of the small foreground is, because each is cleverly modified by contrasting touches within small boundaries.
"K-5" also displays a finetuned sense of what makes colors vibrate. There is more than meets the eye in Kinnier's "Late Sunset" (K-9). which, because of its small size, deserves close examination. In it you see an ascending scale of glyphs which you could swear finally coalesce into Arabic code.
We are led into suggestions of nature's calligraphy in Kinnier's "Swamp VI" (K-10). Its intaglio of sticks and vegetation conjures up an alphabet of primeval bones arrayed among russet grasses. In K-6, "Forest Edge" an oil pastel/mixed media, in pale, stacked layers of color, you almost expect an equally pale unicorn to introduce itself at the side of the glade.
Considering the size of these works, an inescapable conclusion is that if Kinnier had worked in the heroic scale of artists such as Frankenthaler, she would be known nationally.
We recommend the show for Hill s virtuosity and for Kinnier's courageous adherence to her own style.
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