A River Apart

Because abstraction usually refers to little more than itself, its overall design becomes important--this characteristic is something Pangburn does extremely well. His drive toward a poetic view, in which the high points of the earlier New York School are reprised in ways that reflect nature and Asian lyricism, feels necessary in a time when the computer has taken over our thinking and even our way of considering art. While Pangburn may risk repetition of visual effect in his decision to regularly work with a curving, irregular, mostly black abstraction, it is also true that he uses history to his advantage--not only is expressionist abstraction a large enough genre to support ongoing and future efforts, it is also a venerable, large-spirited tradition, one Pangburn can use without worrying if he is taking too much from the past. An expansive, affirmative person, Pangburn reminds us that art is not only a demonstration of formal decisions, it is also a reflection of personality, surely important tom the style and content of “A River Apart.” Thus, he merges the abstract gesture with his love of nature, in a manner that incorporates art from the past while staying new.

Jonathan Goodman, Bill Pangburn:
“A River Apart”, 2021, Tussle Magazine

Hudson Beiseite
(Hudson Apart)

Crucial to all of these series is the vantage point from which they were created. The early work was one of submersion in an urban environment. The Texas Panhandle series presented an aerial perspective. The Crete paintings presented an intimate, close at hand inspection of the sea. In contrast, the Hudson Beiseite artworks were based upon a lateral view across the surface of the Hudson River from Manhattan to New Jersey. As such, the river’s surface was the object of contemplation, shaping the vocabulary, patterning, and structure of the series.

Crete
 

Having sat on the shores of Crete, hypnotized by the interlacing of translucent micro-currents, I returned to New York to create a series of rhythmic, meditative works on paper with watercolor and gouache. My increased layering of brushstrokes was the direct result of the overlapping currents as seen in the water’s depths. While water’s movement and depth are natural occurrences, they bring to mind the frequent association of water with the subconscious - an association that would resurface in later work. Separated from the Cretan seaside upon my return home, the island’s  influence began to be shaped by the pulse of New York. No longer translucent, colorful brushstrokes comprised the ribbons, reflecting the multifarious visual stimuli of the city. A hybrid, imagery was created, blending impressions and experiences.

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Artist statement, 2019

The Hudson River is an iconic river. It has a rich economic history and has been the inspiration for artists for many generations. I bike along the Hudson River daily to and from my home to the college where I work. This affords me a view of the river, its waves, currents, and its ebb and flow as I travel alongside. Daily differences occur, of course, as the weather and natural forces affect the water, but the river’s movement persists. In one sense this experience is a quotidian routine - mundane and familiar. I peddle and the river flows. Yet, I do perceive a connection through a communion in repetition. Both the river and I are driven daily by our respective forces, moving our respective matter, and both of us are never the same despite our repetitions. But mine is temporal, whereas the river’s is seemingly never-ending. It is this difference that preoccupies me.