The current exhibition at Gallery M features works by internationally recognized artist Charles Dwyer and his new series entitled “A Call To Vera.” Dwyer’s works depict traditional subject matter and follow a strong historical connection to the classical interpretation and representation of the feminine mystique. Although his works are reminiscent of the classical portraits of the past, Dwyer has seamlessly reinvented the figurative, blending history with the contemporary flair of today.
Most of the works exhibited are large-scale, figurative, mixed media paintings highlighting Dwyer’s beautiful “fashionistas” - the imagery often alluding to the poses, expressions, and theatrics of the contemporary fashion world. The women look flirtatiously at the viewer, posing coquettishly, a symbol of female sexuality and worth. Thus, Dwyer’s women are contemporary and yet are fetishized - they cannot seem to avert the male gaze, a perspective that has had great influence over a large span of history in the arts. Influenced by collage and narrative, Dwyer’s works are subtly layered with imagery and meaning. The figures are not solidified nor are they grounded in a physical reality. They appear and form from the narratives and subtle symbols that inhabit Dwyer’s imagination, as fantasies and apparitions that tantalize. Dywer’s sensual application of paint and use of pastels and luminescent colors further accentuates the figures as ideals, rather than real women.
Gallery M also featured a small number of Dwyer’s photographic etchings, often depicting sexualized feminine figures. The silver gelatin prints were relatively large in scale, however they were slightly smaller than the average dimensions of the paintings at approximately 48″x36″ inches. Dwyer’s photographic etchings maintained a similar narrative aspect, however many of them had a wider reference point to their locale and seemed to be grounded in a place. Although many of the photographs detailed Dwyer’s unique style, the narratives read more as embellishments than symbols derived from the imagination.
Gallery M used a standard method of display for showcasing Dwyer’s pieces. The works were hung on white walls and were matted and displayed within sleek, modern gilded frames. However, the gallery used a blend of both natural light and LED lights for its lighting system, a non-traditional approach to lighting artworks. The display method was successful for viewing Dwyer’s more traditional pieces, however I found the carpet, lush furniture, subtle wall obstructions, and office desks to be a distraction. For a more professional appeal, it would have been better to have the office desks removed from the general exhibiting area and to have carefully spackled the walls before opening to the public.
Overall, Dwyer’s “A Call To Vera” displayed a strong thematic body of work that both enhanced and highlighted Dwyer’s technical skills, vision, and aesthetic. The traditional subject matter of feminine beauty is a theme that has been revisited for centuries and it is refreshing and delightful to see an artist seamlessly bridge the gap between history and the contemporary. As with all bodies of work, there are some which are more successful than others. For example, “Star 86″ an image of a woman posed similarly to a fashion advertisement, is a little contrived and reads more as an advertisement for Vogue than a figure reminiscent of Dwyer’s imaginary realm. However, works such as, Dwyer’s “Divine” are exquisitely executed and accentuate contemporary sentiments within classical ideals. In “Divine” Dwyer depicts a beautiful young woman sitting elegantly and naturally within the frame. Her look is one of defiance, yet her demeanor and pose allude to classical ideals of beauty and intrigue. Negatively or positively, his work is a testament to the traditional interpretation of female worth and beauty, which maintains that feminine beauty, sexuality, and youth still sells.
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