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Parting Shot: Tricia Cline 

Knowing's Wife

click to enlarge "Knowing's Wife," Tricia Cline, 17" x 11" x 18", 2015
  • "Knowing's Wife," Tricia Cline, 17" x 11" x 18", 2015

Tricia Cline's porcelain sculptures create a fantastic, enchanted world where magical creatures dwell. Largely an expression of raw femininity, her work pairs the naked human body with animals, creating an Artemisian allure—the wild goddess frequently accompanied by a group of forest animals.

Some of the Woodstock-based artist's collection features sculptures of the feminine figure covered in thick garb. The woman in Knowing's Wife, whose natural form is hidden beneath clothing, rides sidesaddle on an elephant, like a "lady" of society. This elephant, this inner knowing akin to animal nature, is carrying the woman. The union between the worldly and the transcendent is characteristic of Cline's art. Her creations depict the separation and merging of the personalized ego-self and the witnessing consciousness that pervades all things. In We the Palcontents, a little girl is portrayed twice—in a dress, carrying a purse, and then again, floating naked in the air, escaping the reality below.

Regarding her series Exiles in Lower Utopia, Tricia Cline notes, "To reconnect with our own animal perception is to clarify and heighten our perception of who and what we are in the moment—to go beyond the limited mental concepts of who we think we are to an awareness of oneself that is infinitely more vast."

Tricia Cline's work will be exhibited in "Shimmering Substance: Selections from Pollock-Krasner Foundation Grantees of the Hudson Valley" at the Kleinert/James Center for the Arts in Woodstock, March 11 to May 1. The show also features work by Mary Frank, Kahn and Selesnick, Carolee Schneeman, Keiko Sono, and Robert The, among others. An opening reception will be held on March 12, from 4 to 7pm.

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