Poetic Realism

Essay by Stuart Simpson

 When first encountering the paintings of Steven Rhude, one’s initial reactions are almost always fancifully deceived; such is the case with many of the great artists of the twentieth century. Although Steven’s work reflects clear influences from such modern and contemporary innovators as Piet Mondrian and Jackson Pollock, in both style and technique, his is an art that has been hitherto undefined. Steven’s paintings defy both logic and definition, which is why it is only apt to attempt to harness their mysteries with a new and organic art term: Poetic Realism.

Poetic Realism can be defined as being based on the ideals of social realism, contemporary realism and high realism, but with an imaginative twist. It must be viewed with a suspension of disbelief in order to fully appreciate the subtle nuances presented. In much of Steven’s work, he has mastered the concept of placing ordinary objects in extraordinary positions and situations, all in a very dry, serious manner. There is an underlying aspect of humour in Steven’s art, which brings into question the validity of the traditional landscape or still life. Steven’s paintings are not something that one instantly recognizes and understands, the paintings demand your attention and thought in order to discover their true communication. It is through Poetic Realism that Steven has found a voice for his lifelong commitment to the cultural heritage of the Maritimes and introduced a new way of experiencing art.

            The selective adoption of Mondrian’s precise clarity of form, unexpectedly entwined with Pollock’s reckless abandon of formality, gives birth to the fresh unique expression of Steven’s work. Though deeply rooted in the social consciousness of the very real issues facing the Maritimes today, Steven manages to make these inevitable cultural challenges into an idyllic visual experience. The decline of the fisheries in Nova Scotia, coupled with the seeming unwillingness or inept nature of official government agencies to properly address the concerns, forms the backbone of the social commentary that Steven creates with his art. It is through Poetic Realism that Steven effectively casts light on these issues and asserts important messages regarding this imminent and catastrophic phenomenon.

            The Poetic Realism in Steven Rhude’s paintings makes these issues both easily accessible and emotionally profound. When contemplating Steven’s work, the inherent intention of the piece is not always apparent. In some works, such as the now iconic “Hung Out to Dry” (Fig. 1), the title of the work serves to accentuate the deeper meaning behind the work. By placing these traditional fishing apparatuses on a regular clothesline, it brings to mind other clichés that suggest that the fishing industry is all washed up. The fact that the clothesline crosses, and essentially blocks the coastal highway, beckons to mind the reduction of trucks on the road filled to the brim with the day’s catch. A variation on this theme can be seen in “Dorys on the Line” (Fig.2) in which a similar clothesline is now overshadowing the quiet harbour in the distance; indicating the epicenter of where the declining fish stock first has an impact.

            In a series harkening back to medieval altarpieces, Steven has used the triptych to expand the deeper nuances of his social message. The most apparent metaphorical aspect of how Steven has used the triptych in his art can be seen in paintings like “The Last Romantic” and “Lunenburg Fish Company” (Figs. 3 & 4). Historically, the purpose of a triptych was in the way it functioned: literally, that the two wings could be folded over the center section, to protect it. In Steven’s triptychs, this is a visual function, not an operational one. The two colour fields in these, and other works, can be seen as guardians or protectors for the irreplaceable center panel, which contains the focal point of the work.

            Through most of Steven Rhude’s paintings, one can easily see the references to the strict adherence to primary colours, which Mondrian subscribed to, and indeed he also takes great care to create precisely drafted imagery, so familiar in the earlier artist’s work. This process, however, is abruptly put off kilter by the second of Steven’s two great influences, Jackson Pollock. In true Pollock-esque style, Steven will remove a partially finished canvas from the easel and proceed to spatter and drip polychrome paint onto it while it lies in repose on the floor. Steven endeavours to destroy the formality of the painting’s beginning stages, with the intention of creating countless accidents to eliminate pre-conceived ideas for the work. He then returns the painting to an upright position and revisits important areas of the subject matter, in order to create a cohesive whole.

            Steven has spent the majority of his artistic career living in coastal Nova Scotia communities, basing his art on the experiences and social values that he encountered there. Today, living and working in Lunenburg, his art is more relevant than ever before. The major fishing companies have left this coastal town, leaving its community in an uncertain turmoil. In the years since Steven arrived in Lunenburg, it has grown from a faltering seaside-fishing town into an invigorated artistic center. Lunenburg can almost be seen as a subject for one of Steven’s paintings; with old dories blocking the export roads and threatened fish being used as signposts. Yet for every decline in the fishing industry, there sits a new blank canvas waiting for the inspired brush of Steven Rhude to create another revolutionary work of art.