It would be very sad if the world ran out of blue.
There would be no first place ribbon in the 500m butterfly race or robin’s eggs or blueberry pies. There would never be another discovery of the rare, special edition blue sea glass. No one would arrange hydrangeas in ginger jars or wear blue jeans until they were soft. Elementary schoolers would never puzzle over the bedeviling pronunciation of “cerulean” on their crayons and superstitious brides, wearing old, new, and borrowed somethings, would never complete the heirloom rhyme
So, our curators have selected a collection of pieces, “Best Of: Blue,” to celebrate our beloved blue. The selection comprises pieces in which the blue is used the most inventive, diverse, and clever ways.
Here are some highlights of the Best of Blue collection that capture the many moods of the hue:
In Quando la Luna Llora, Tomo Mori creates a metaphorical and metaphysical mixed media seascape. The work shows a cycloptic moon with tears of blue pebble-like discs pouring into the ocean. The composition has poignant imagery and lyricism that Federico Garcia Lorca could not have improved upon. Tomo’s anthropomorphic moon is both isolated and integrated. There is a melancholic loneliness and yet the tears puddle into the viewer’s space forming a community around this shared emotion.
Seth Couture’s acrylic painting, Where All the Pretty Things Are, Union Square, shows the ways in which blue can reverberate through an urban landscape. With highly textured and gestural brushstrokes, the composition juxtaposes many colors, and yet turquoise – Seth’s selected blue — dominates.
Like the waves on the supposed beach, the blues of Changsoon Oh’s Inlet Beach (30”x30”) crash into the canvas. An acrylic abstract, the painting plays with texture and space. The blues are set against a white background and interspersed with warmer colors evoking the sensations of a seashore.
Though “pink” and “yellow” receive the titular stardom in Feng Biddle’s acrylic painting, Pink and Yellow Fish (30"x30"), “blue” takes the lead role. The dinnertime scene is a calming combination of still life objects – a dish of fish, lemon, fork, and vase – and flattened picture plane grounded shades of blue.
In Turbulence 6 (72”x48”) by Mélisa Taylor blue is electric. The painting, which overlays freeform abstract expressionism onto a geometric rule, produces a blue that is both ethereal and charged.