“The river is moving, The blackbird must be flying” is the title of Judith Linhares’ third solo exhibition at P·P·O·W's Tribeca space in Manhattan. The show consists of paintings that fill two gallery spaces in the exhibition venue. The works range in scale from small to medium-large, creating an intimate yet immersive visual experience. A distinct characteristic of this exhibition is the artist’s consistent use of warm hues, which resonate deeply within the cold winter months of New York City. These rich, glowing colors provide an inviting contrast to the bleakness of the season. Additionally, a number of paintings depicting bouquets of flowers punctuate the show, evoking the promise of springtime and adding an element of seasonal transition.
My first encounter with Linhares’ work was in the 1990s when I saw her series based on the nursery rhyme "Jack and Jill" at Edward Thorp Gallery in SoHo. Her work, both then and now, is deeply tied to storytelling, an aspect that continues to shape her artistic practice. In this current exhibition, the title is borrowed from a stanza by the modernist poet Wallace Stevens, reinforcing the notion that literature serves as a entry point for her paintings. The press release further underscores this connection, quoting Linhares: "One aspect of painting I find most interesting and challenging is how the process creates content…" This insight is palpably evident in the works on view, where the act of painting itself becomes an avenue for generating meaning. The interplay between image, gesture, and materiality showcases the extent to which Linhares is deeply invested in the process of painting as a means of storytelling.
One of the most rewarding aspects of experiencing this exhibition is witnessing the seductive, controlled execution of each piece. The phrase "painter’s painting" is often used to describe work that exudes a deep understanding of the medium, and Linhares’ paintings exemplify this notion. Her mastery of composition, color, and brushwork reveals an artist who has spent years honing her craft. Each painting feels like a self-contained world, inviting the viewer to decipher its narrative through the interplay of figures, patterns, and spatial relationships. Rather than presenting literal narratives, Linhares constructs dreamlike scenarios where reality and imagination coalesce. Her paintings do not merely depict; they suggest, evoke, and invite prolonged contemplation.
A particularly striking aspect of Linhares’ work is the ambiguous scale of the subjects she depicts. This uncertainty challenges the viewer’s perception, making it difficult to discern whether the figures are life-sized, monumental, or miniaturized. In "Clearing," for example, two female figures inhabit a wooded landscape. One actively chops wood while the other sits atop a pile of logs, yet their scale remains elusive. As the viewer continues to examine the painting, the question arises: Were these figures drawn from life, sourced from photographs, or imagined entirely? This ambiguity extends to the patterns and textures within the painting. The floral motif beneath the standing woman’s feet acts as an allegorical representation of flowers rather than a literal depiction. Similarly, the yellow swath of color on the left side of the composition serves as both a representation of light and an abstract painterly gesture. This play between representation and abstraction is a defining characteristic of Linhares’ work, reinforcing its connection to literary traditions where metaphor and symbolism create layered meanings.
Other paintings in the exhibition similarly blur the boundaries between the natural world and invented space. In "Kitchen Ghost," the background pattern echoes the apron in the foreground, creating a visual dialogue between surface and depth. The use of repeated lines and color relationships causes elements to shift between fabric, painterly texture, and cartoon-like imagery. This interplay of spatial manipulation and patterned surfaces disrupts conventional notions of perspective, further immersing the viewer in Linhares’ dreamlike world.
Beyond the technical and formal aspects of her work, Linhares’ paintings offer a mode of engagement reminiscent of literary masters who suspend disbelief and transport their audience to other realms. Her compositions create a space where the fantastical coexists with the everyday, prompting the viewer to navigate a world where logic is secondary to emotion and intuition. Rather than presenting didactic statements or overt political commentary, her work invites open-ended interpretations, allowing for a more personal and visceral response. This quality is particularly refreshing in a contemporary art landscape often dominated by overt political messaging. While social and political themes certainly have their place in contemporary discourse, Linhares’ paintings remind us of the enduring power of visual storytelling as a means of exploring universal human experiences.
Another compelling aspect of Linhares’ approach is her engagement with the materiality of paint. Her brushwork ranges from gestural and expressive to meticulously controlled, creating surfaces that oscillate between density and fluidity. The physicality of her mark-making underscores the idea that the act of painting itself generates meaning. Every brushstroke, every layer of color, and every compositional decision contributes to the narrative quality of the work, making the process of looking an active experience. The viewer is encouraged to move through these paintings, to engage with their surfaces, and to uncover the multiple layers of meaning embedded within them.
Ultimately, "The river is moving, The blackbird must be flying" serves as a testament to Judith Linhares’ ability to bridge the gap between literature and painting, between representation and abstraction, and between past influences and contemporary relevance. Her work operates in a space where imagination reigns supreme, where patterns and figures merge into poetic compositions that resist easy categorization. In an era where immediacy and direct messaging often take precedence, Linhares’ paintings remind us of the value of slow looking, of the pleasure in unraveling an image’s mysteries over time.
Linhares’ exhibition is a masterclass in storytelling through paint, offering a visual journey that is both timeless and profoundly contemporary. It reaffirms the power of painting as a medium that continues to evolve and inspire, proving that in the hands of a skilled artist, a canvas can become a world unto itself. This exhibition is not just a display of technical prowess but an invitation to experience painting as a living, breathing entity—one that moves and flies, just like the river and the blackbird in Stevens’ evocative verse.