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  Katherine Bowling
Reviews
  New York Times
Art in Review
By Grace Glueck

New York Times, October 1, 2004


The lure of the fimiliar in landscapes surrounding her home in upstate New York animates Katherine Bowling's softly brushed works. Her responses to the roads, trees and fields that she experiences daily, and the light that falls on them at various times of day or night, are feelingly conveyed, with a spirit derived from the great landscape painters of the past but thoroughly contemporary compositional devices, not ignoring those invented by the camera.

She concentrates on roads, smooth, modern macadam riversrunning past timeless fields. Often they flow into the future, as in "Curve," a scene at dusk where a single streetlight glows next to a bend that pluges through dark trees on to some enchanted destination. In a less emotive work, "Lines," all compositional play, the road becomes a crisp geometric patch of space beside a trim green field and a couple of densely branched trees through which a telephone wire angles sharply above.

"Snow" muffles the road with a fresh, thick blanket, bearing a faint trace of car tracks, as dark tree skeletons by the road side stand sentinel and flakes drift from a roughblue sky faintly tempered with yellow. The most minimal painting, but one still charged with feeling, is "Vacation," two yellow ruts in a plain of grass that stops at the edge of a vast domain of sky. To plain vanilla countryside, Ms. Bowling brings a touch of soul.