Super-duper Pepper-Cooper
Carol
Pepper-Cooper's thoughtfulness, literacy and artistic training are
evident in a prolific display of pastels, charcoals, and oil paintings now on
exhibit in Stone Ridge. This artist's first major show in 30 years makes you
wonder how she's managed to maintain a low profile for so long.
Pepper-Cooper begins representationally, then progresses to nonobjectiveion.
While each piece is savory in its own right, a few works echo other pieces in
more or less nonobjective versions or different mediums. A skilled colorist, she
creates a variety of textural illusions, especially on paper.
Interiors with reclining nude figures, mirrors, and windows reflect the question
posed in the artist's preliminary statement, "Is the dream a creation of the
dreamer, or is the dreamer the product of his own dream?"
These
meditational reveries are sweetly pastel or deeply introspective indigo.
When depicted representationally, the dreamers' surroundings are familiar
furnishings in bright colors. The nonobjectives focus more closely on the figure,
fun to locate among mountain-like hips, swirling limbs and clutched
pillows.
In "The Dream II," an oil, two panels are placed one
above the other, a sleeping woman on each. More serenity is revealed at the top
level, while more restless, subconscious activity is indicated on the bottom
panel. The difference is indicated mainly by the use of cool blues and greens at
the top and warmer oranges and reds on the bottom.
More
disturbing is a large oil based on a passage from the Old Testament (Ezekiel
37), "Son of Man, Can These Bones Live?", which explores the holocaust theme.
The painting depicts a pile of bones and skeletons below, figures tumbling
through an abyss mid-canvas, and a man standing at the top among green and
yellow mountains and a red sky. A landscape of human arms cradles a lake from
which the male figure rises, gazing skyward.
The artist created
the painting to accompany a play and religious service that her husband, Paul
Cooper, wrote to welcome a stolen Torah to Temple Emanuel in Kingston a few
years ago. "The Nazis confiscated Torahs from Temples and Synagogues with the
idea of building a museum to a dead civilization," she says. "Instead, the
Allies found the collection and brought more than 1500 Torahs to London. Temples
and synagogues around the world can borrow them."
When Temple
Emanuel acquired one of the Torahs a few years ago, an art show of pertinent
work was arranged to celebrate the event, along with the special service written
by Paul Cooper. "That was what I needed to get me off my duff," Carol says. "My
husband looked at Ezekiel's image, and I thought it was a great
idea."
As part of her preparation to paint the picture, she
studied anatomy at the Ulster County Community College bio lab over a
winter break. So far, three versions of the work exist -- a master
drawing, the oil painting, and a mixed media piece with Conte and pastel
on paper.
Pepper-Cooper, who tutors UCCC students in
English and psychology, earned a magna cum laude degree in English at Radcliffe
College. She also studied at Columbia University's School of Painting and
Sculpture, the Art Students League of New York City, the Skowhegan School of
Painting and Sculpture, and the University of Illinois. She received an MFA from
Pratt Institute in 1966, and was a student of former Woodstock resident and
master teacher Nicholas Buhalis at his Woodstock and Kingston
schools.
The artist is also an accomplished theatrical set
painter, and before moving to Lyonsville in the early 1970's was a dean upstate
at Kirkland College in Clinton.
Pepper-Cooper observes in her
statement that although nonobjective expression was in vogue when she received her
MFA in 1966, she was influenced by Hans Hofmann, the impressionists, and Matisse
and Rembrandt. "My thesis exhibition consisted of works which tried to relate
the human figure to an nonobjective world of luminous color. Through this I tried to
celebrate not only organic forms and the forces of nature working on them, but
also the human imagination." She also uses the human form to indicate natural
features like mountains, lakes, and even birds.
Carol
Pepper-Cooper's exhibit at the Cultural Co-op, 3938 Main Street, Stone Ridge,
runs through August.
------Twinker Twine, Woodstock
Times
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Artist's Latest Offering
Pleases
the Eye and Feeds the Soul.
Carol
Pepper-Cooper, whose pastel, charcoal drawings and oils are now on
exhibition in a solo stint with Stone Ridge's Cultural Co-op Gallery, says she
hasn't shown her work individually in some 30 years. That of course doesn't mean
she hasn't participated in scores of collective shows. Very much on the
contrary, she has been uninterruptedly active. But whatever time has passed, if
anything this current show of hers proves she is making up for lost time,
in the solo department, that is. She has come through with an unquestionably top
rate performance.
The first feature that appears as
positively dominant in her pieces is the manner in which she uses space.
She abbreviates every form within the picture to the most essential. She creates
an ambiguity between the flat space and depth that inject tension, creating an
interesting visual game.
The formula is rather tricky. When seen
at first glance, the piece appears flat. Then, looking closely, everything comes
together to give an impression of tri-dimensionality.
Her figures are
essential in this playful, complex
performance. Somehow, they seem to perform both functions, dissolving into space or becoming
part of space. Yet looking closely, they most certainly have a presence of
their own.
When questioned about this particularity in her work,
Pepper-Cooper explains that whereas she is now a figurative painter, she
once was a staunch nonobjectiveionist. That accounts for her usage of space, and her
penchant to reconcile her past production to her present. She also adds that she
was a follower and great admirer of the immortal Hans Hoffman, whose work was
characterized by the balance of tension within the field of
nonobjectiveion.
An M.F.A. Graduate of the famed Pratt Institute,
Pepper-Cooper says in a gallery statement that her thesis exhibition consisted
of works which tried to relate the human figure to an nonobjective world
of luminous color. This is one quality that is quite evident in her present
work when it comes to her palette. That luminousity is unquestionably
breathtaking.
The artist uses charcoal, construction and colored
paper to do her drawings. In some pieces she almost covers the entire
paper, and leaves only mere hints of the original, basic tint. Then on the
other hand, she may barely put down a few lines and uses to advantage the color
of the paper. Either way, the artist shows extreme cleverness in her
solutions.
She shows versatility in her use of media. She may
use charcoal and conte. Then she may change to conte and pastel, or pastel
pencil. In most instances, she goes straight for pastel alone.
Her figures are mostly nudes, and always in poses that indicate a
meditative mood, hints of quiet, reflective moments, and even in deep absorbed
moods. It's a world where no one seems to be under stress, hurrying anywhere or
worrying about a hundred problems. This is that special touch that the artist
can project in work and that comes directly from deep conviction and
feelings.
Her titles, "Night Reverie," "Day Dreamer," or
"The Magic Carpet," point to the message of complete nirvana
that the artist seems to want to convey through her
production.
One interesting piece is her "Homage to Gauguin."
Done in pastel, the artist follows that unmistakable Paul Gauguin style as he
depicted his Tahitian models, sensuous ladies robed in colorful South
Sea Prints. But Pepper-Cooper has substituted for the
female temptresses a male nude, though bronze skinned and assuming a
similar pose to the Gauguin subjects. The result has a most topical
connotation: If the females could pose, the artist seems to be saying here, so
can the men.
One other piece which is in the category
of show stopping is a large format oil on masonite titled "Son of
Man, Can These Bones Live?" The artist tells us that there is a story behind
it, and upon hearing the observation that it has references to
Dante's Inferno, she is prompt to say that it refers not to the
Florentine's literary treasure, but to the Holy Bible and the World War II Holocaust.
The story further involves the artist's husband, theatre director Paul Cooper,
who wrote a play based on the terrible human massacre, and she in turn painted the
piece to be used in the presentation of the theatrical piece.
A
show of enormous depth, and excellent quality which not only pleases the eye,
but feeds the soul. Pepper-Cooper's solo is an exciting art event in our local
art
scene!
------James
G. Shine, Kingston Daily
Freeman
============================================================
In "Waiting," an oil by Carol Pepper-Cooper, more silhouetted figures, this time
not black but very dark colors, sit in a purple atmosphere. Light patches of
pink, blue and green help define the hatted and bare-headed androgynous
individuals grouped together in a mysterious setting. There's such a spooky aura
about this piece that it seems the people must be waiting for a space ship
to pick them
up.
------Renee
Samuels, Kingston Sunday
Freeman
============================================================
An
oil painting and a pastel by Carol Pepper-Cooper were stand-outs to this viewer.
Her colors--hot red inflected with neon green and blue--grab the attention and
hold it, on scenes that are are almost languidly dreamy, despite their
hues.
------Kathi
Norklun, Woodstock
Times
===========================================================
Carol Pepper-Cooper, who has served as Woodstock Artists Association juror
on several occasions, and has shown her work there for two decades, admits that
she was feeling a little blue when she woke up on the day she resubmitted her
painting, "And Her Shoes Were Black," a jewel-and-neon-toned study of
contrasts, each element playing off the other like visual jazz. When she heard the painting was not only accepted but had won the
Lee-Borkman award, it made her "feel marvelous," but then she realized she had
to put the whole thing back into perspective, not allowing her sense of herself
as an artist to rest on fleeing moments of acceptance or rejection.
------Woodstock Times