So Faraway, So Near: The Seascapes of Artist Jennifer Day

"The ocean says, Quit pretending to be clear. That pretense keeps you from receiving what I can give. - Rumi Jennifer Day's oceanscapes are indeed gifts of immense proportions, never of sentimental value but more like the promise of the beginner's mind. Day states, "Maybe its not obvious that the ocean is my best friend, as it overwhelms me, frightens me, challenges me to the extreme and fills me with awe. But still, it isn’t the ocean I’m after. That’s just the vehicle for something I think I know, but I really don’t. That’s the trick." With black oil paint on a gessoed panel, the drama of water's liquidity is refined without the infinite options of local color. There are no steps in the ocean -- it is an ancient site where countless narratives have transpired. Again, there are no steps in the open ocean, only its sustained crest, trough and flow. Day's waves are not playful nor may they be tamed -- that would render them static -- rather they indicate vast and rapturous undertones that lurk and swell from below. The pleasantries of living life, just bob-bob-bobbing along, are swiftly destabilized by a mysterious and unrelenting force, not unlike a rising consciousness that compels an awakening somewhat before its time. Immediately, one is unsure, in the face of such an awakening, of its import and impact. Day’s watery scenes give us plenty of time to ponder this. And, this is precisely where and how Day wants us to look, as well as the extent of our gaze. Do we really want to know what lies below the surface? Firstly, just dip one toe at the water's edge and savor a glimpse of the epic expanse of the sea. At that moment, we and the Offing are one. Indeed, the water looks as if it is moving, whether under its own control or in concert with barely distinguishable entities. Will an ensuing communication encourage fright or dispel it? Day kindly offers her own consideration: "The Offing asks how far can you see across the sea. Its one imperative? Just keep looking and trust. Don’t be daunted by distance, obstacle and preemption, instead be intrepid and dive deep. Its not what you find, which might be scary, rather it is simply the process of maintaining a constant gaze. Its empirical, not unlike a scientific experiment. I can make an initial mark that I love, whereupon I know that I can do the whole thing. Almost like the painting paints itself, based on a level of trust that lets me know all is in sync and that the process can continue."