Titanium Nodes Rising in the Wake of a Centralized Separation of a Cerulean and Permanent Green Amalgamation | polymer paint on cradled MDF | 48 x 48 x 4 ¾ inches
Heraldic Cobalt Swept Back in Formative Lines of Thought in Subordination to a Superseding Aqua Elongation | mixed media on canvas | 20 x 20 x 2.5 inches
Valerie Gladstone Essay
Michael DesRosiers’ seductive, blue paintings plunge viewers into sensual, mysterious worlds. Fluid, organic shapes appear to float under water, in another universe or under a microscope. Circling, weaving and flying through space, they resemble stones, bubbles, planets and raindrops. Everything is in motion. Contrasting shades of blue give the paintings’ depth, inviting us to look inside them, as if they had three dimensions. Lacey white and black lines dance in the background, delicately framing the movement in the foreground. One could easily get lost in their midst.
DesRosiers never stops experimenting, in each new exhibition revealing more aspects of his enormous talent. He achieves a marvelous sculptural, tactile quality in recent works by combining a wide variety of natural and manmade material on opaque and transparent papers. He then layers and burnishes them onto large canvases.
The results are glorious. “Executive Turqoise Restrained by a Net of Its Own Determination” shows a huge, pale blue, shiny oval against a deep blue background, bubbles floating to the side. White Matisse-like squiggles balance its size. The blue-green “Titanium Nodes Rising in the Wake of a Centralized Separation of a Cerulean and Permanent Green Amalgamation” could be a companion to Van Gogh’s “Starry Night,” with its surging landscape, swept by an unseen wind and swirling out of control. Only photographs from outer space could match the eerie beauty of “Nocturnal Examination of Inflated River Rocks Revealing the Presence of Cadmium Ore.” Against a blue and black background, pale, shiny beige modules look like elements in an explosion in the sky. Spidery yellow lines form broken webs around them.
Like a contemporary stained glass window, “Cobalt Codification of A Brilliant Blue Release” has four long, narrow panels, flooded with shimmering shapes in every shade of blue. Equally enchanting, “Rapid Inflation of a Quantum Cobalt,” “Titanium Disc of Sequestered Ultramarine Expelled by A Portal of Familiar Territory,” “Illuminated Outline of A Blue Truth Standing in Witness to A Lost Fluidity,” “A Brilliant Blue in Constant Attention to Its Luminous Point of Origin,” and “Heraldic Cobalt Swept Back in Formative Lines of Thought in Subordination to a Superseding Aqua Elongation” confirm DesRosiers as a master of color, composition and expression. No one could walk away from his dazzling works without being moved and wanting to see more.
Valerie Gladstone writes about the arts for The New York Times, Boston Globe, LA Times, Artnews, Artinfo and many other publications. She has published books on the visual arts and dance, and regularly reviews art for City Arts and Artnews.