An Art History Analysis of Cyndy's Paintings, Part 2


An Art History Analysis of Cyndy's Paintings, Part 2

Amelia Miholca, artist, curator, and art historian

Cyndy incorporates the styles and subject matter of both the Hudson River School and of 20th century Southwest artists to create art that is notably distinct and spiritual in its affirmation of nature’s power to capture a fleeting moment and magnify that moment’s emotional impact. Similar to the vast landscapes of the Hudson River School and the desert panoramas of Southwest artists, her paintings offer insight into the sublime nature existing beyond the city, yet her use of color is more subjective and expressive of the artist’s relationship with nature. Cyndy’s optimism and joy in not only creating these landscapes but also in the audience’s reception of these landscapes is evident in her rhythmical brush stokes and exuberant color palette of cerulean blue, pensive purples, and illuminating yellows.

Furthermore, with the symmetrical compositions that frame the landscape into a timeless moment, Cyndy is constructing the landscape as she wishes it to be and not entirely how it appears in reality. In other words, Cyndy is constructing her own reality, and this is especially evident in her semi-abstract paintings in which black outlines of cacti and transparent geometric squares are super-imposed on realistic desert scenes, and in her paintings of the sky—a motif that is rendered with expressive brushstrokes—in which the mountain become almost non-existent. 

These constructions of nature and reality elevate Cyndy’s paintings beyond the pervasive landscape paintings stereotypical of southwest art and into something more profound. Viewing one of Cyndy’s paintings not only motivates one to go out and explore nature, but also challenges one to take a moment and reflect on our own transient existence and place within the larger scope of earth, the universe, and whatever lies beyond.