Things, by Sarah Jung (age 2)
Critic’s Corner with guest critic: Finnius McPhail
The lord said, “Let there be light!” and lo, there was light, and it was Sarah Jung’s unbridled masterpiece, Things, an uncompromising depiction of the frenetic symbiosis that exists between theoretical artistry and our most primal instinct of faith. Drawing upon the intrepid stylisation of early French Impressionism, Jung has laid her canvas bare, heightening this exposure with an evocative cocktail of frenzied passion and unabashed flair, ensnaring the delirious expectation that lies between wonder and revelation.
Expressing a clarity of line and a disparate pulse of colour that neither flippantly succumbs to, nor expressly denies figurative structure, Jung’s composition remains almost detached; yet within this apparent discord arises an aroma of almost mathematic precision. The desperation within each pen-stroke, the nagging rigidity of colour, and its all-encompassing beauty; there is fury, there is ardour, there are yearnings for the uppermost echelons of glory, and yet Jung never loses the impassioned humanity that has brought such gravity to her best works.
Jung has layered a comprehensive musing upon the ribald synergy of the natural order and the sobering equilibrium of the rational world. From nothingness, she says, let there come frenzy, but from this visual cacophony let there develop an instinctive symmetry in all its burgeoning splendour. This work walks the razor’s edge of emotive and artistic expression, and within its framework Sarah Jung (age 2) manages to pry open the belly of a mythic Orphean ecstasy; portraying, in an exhilarating testimony of faith, what centuries of theological tomes have but aspired to accomplish: the scintillating frission of spiritual joy.
Reviewed by Finnius McPhail, Fine Art Critic for ProtoRationale Journal