Elizabeth Murray's painting Back On Earth, 1981, at the Art Institute of Chicago, explores the relationship between figure and ground by putting together two separate canvases to form one whole image. The canvas on the lower left is geometric in shape, painted in a cool blue. The canvas on the upper right is more organic in shape and is painted a warm green. Both are part of the equation; the cold human nature versus the warmth of the earth.
On closer examination, the viewer will
realize that the figure in the blue canvas actually crosses over the boundary
of its own canvas, into the green canvas, with what seems like an arm and leg.
With this gesture, Murray simply portrays that humans are on Mother Nature’s
territory – and not the other way around.
Murray presents this image of the relationship the human race has with earth in a highly stylized and cartoonish-manner, distinct in her work. The unique asymmetrical canvases illustrate the idea of flexibility, openness toward one another. Maybe hinting at the kind of attitude that we should adopt when interacting with our own environment – whether it is human, man-made or natural. The shape of the canvases emote movement and initiate a kind of dance – this might be to Murray what the dance of life is about!
Although there is a great contrast and separation between the cool and warm canvases, this only helps to highlight a great balance between the figure and ground. This is the reason I chose this work to introduce to our audience at Terra/Form’s opening at the Art Institute of Chicago. Like Terra/Form, Back on Earth combines two seemingly contradicting forms to co-exist in harmony. Terra/Form also hoped to reconnect artists and audiences with the earth as much as it aimed to reconnect with the communities with whom we share earth.
Terra/Form suggests that cultivating relationships in our communities can, in turn, affect our environment positively.
Zara Monica Wee
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