of flora from the deep Amazon, when
brought together, would excite the
naturalist.
Importantly, each of the thirteen
objects
appears
capable
substantially, if not totally, of exuding
visual strength, and therefore
attaining aesthetic credibility on its
own.
Great Silver Falls, 2008
In Secret Garden (2008) Kline
explores the clandestine heart of
inquiry of his own mind and own
work. A thicket of meshed curved
lines in bright green, it is a labyrinth
of minute paths leading nowhere.
Yet beneath the apparent chaos
there is a deeper order. The green
intensifies into a square at the
center of the composition, and one
can apprehend an ���X��� or a cross
traversing it. There is the distinct
possibility that the artist is simply
displaying via random chance a
remarkable aesthetic. But given the
vast body of his work, numerous
components of which are not even
touched on in this brief essay, it is
unimaginable that the methodical
Kline is not here interacting somehow
with the divine. H
HYLAND
