Week #16, Winsor Wirebound Sketch Book III

Dusti Bongé, Winsor Wirebound Sketch Book, p.3, c. 1980, pastel on paper, 8 ¾” x 6”.

This week's pastel sketch by Dusti Bongé presents an interesting dilemma in that its composition does not suggest an obvious orientation. In the prior two pieces there was something about the disposition of forms and energy that hinted at the most obvious placement for the work. One could argue that in abstract work orientation should not matter, that, if the work holds strong aesthetic value in multiple positions, it only makes the work better.

However, this is a bit facile. More often than not, abstract artists approach the canvas from a particular direction, and this most likely intuitively guides their next moves. Other times, the artist may be more ambivalent, leaving it up to the viewer to find the position that feels most balanced or creates the desired tension.

And that is where this piece comes into play. Dusti here created a composition with a broad band of deep, rich, velvety red flanked by narrow bands of a warm brown, one accented with a black line. Within the red zone there are two circles of uneven size, a heavier smaller circle and a lighter larger circle. They are outlined in black, and separated by a short, heavy, black mark. The larger circle in turn also has a black stroke bisecting it.

Now, this composition can work in all directions, as you can see below. However, upon looking at it for a while, it strikes me that in case, the way it is presented above is the best orientation.

Placed in this landscape orientation, its three clearly defined bands of color seem to extend themselves into space beyond the paper. There is also a natural flow, of opening up, as you “read” the work from left to right, from the smaller, heavier circle toward the larger lighter circle.  This does not work so well when turned 180 degrees. And, finally in either of the vertical directions the work simply remains more static.

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