Wilted Sunflowers In The Window.
Pencil on Paper.
20.32 cm x 25.4 cm / 8 inches x 10 inches.
Price: $400 USD.
Commentary from Adam Holzrichter & Bruno Passos.
From Bruno Passos:
We constantly have the mistaken impression that a drawing is something inferior to a painting, as if the quality of a work was exclusively the result of the environment in which it was created.
If it is true that colors, brushstrokes and textures can be an emotional expression in themselves; it is also true that the rawness of a drawing can do the same when we talk about representing feelings.
Albrecht Durer, Kathe Kollwitz and Jean François Millet are just the countless examples of how it is possible to reach the sublime through Drawing. And for me it is a joy to be able to say that we also have contemporary artists flirting with the sublime in this medium, like Trevor, in this intimate and not fragile still life.
Notice how Knopp subtracts the vulgar naturalism of the scene by removing the landscape entirely from the window, adding all the protagonism to the flowers in the vase, they are badly arranged, deprived of their natural habitat, but never lacking in their wild vitality. Anarchic petals flutter like streamers of fire here, showing that if pruning is inevitable, conformism will not be.
The first moment I saw this drawing I remembered the Russian director Tarkovsky and his appreciation for “ugly” vases, always rebellious where one would expect a bland romanticism.
It is equally remarkable to see how the straight lines of architecture are crucial for us to feel the organic character of plants; a subtle game of contrasts, typical of artists who know what they want, but who don’t have the arrogance to convince anyone. Here the enchantment is given by desire, by empathy, never by morality.
Trevor is discreet and charming in his approach, how else could it be possible to turn a mere drawing of a vase of flowers into an ode to the wild and nonconformist nature that inhabits us?
From Adam Holzrichter:
This is a well balanced drawing. Most compositions I see are clunky and falling in on themselves. Light and dark. Inside and outside. Soft and hard. Rigid and flowing. Trevor’s personality is summed up in his drawings. Much the same as Bruno is in his, or I am in mine. It’s not hard to see Trevor is hard-working. He’s not bored by monotony, like someone seeking instant gratification without sacrifice might be.
There is a rich reward when you take time to examine this work. You feel the sunlight dappled through a sheer curtain that loops you back into the central focus of the picture —.the misanthropic flower, which is turned opposite from the others (left). I know that one is onto something special. That flower doesn’t move toward the light, which flowers are wont to do, but embraces the darkness which is very much alive in all of us. I “I am understated and patient for recognition.” That’s what this drawing says.
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