By Tara Mae

It is an art form to recognize one’s daily surroundings as fecund food for thought despite their familiarity. Gallery North’s new exhibit, Poetic Visions: Recent Works by Bruce Lieberman, explores the eponymous artist’s appreciation and perception of his own backyard as he cultivates its curated wildness. On view from Aug. 24 to Oct. 1, the show will feature approximately 35 of Lieberman’s oil paintings. While canvas sizes vary, the world within them is universally expansive. 

“The paintings are vivid, luscious, gardenscapes spanning summer through winter, when it is more bleak. Even then, he still pulls out colors and textures in the browns and other, more muted, [tones] that he paints,” said Gallery North’s Curator Kate Schwarting. 

Immersing the audience in a verdantly vivacious, incrementally abstract atmosphere, these renderings inspired by his Water Mill property are rooted in realism, yet blossom with imagination.  

“This is a presentation of paintings that blur the line between representation and abstraction. It also presents a painter who is very far along in his career trying to move into something new and push boundaries of his artistic practice. [Lieberman] revels in color and gets others excited about the interaction between color and form,” Gallery North’s Executive Director Ned Puchner said. 

Poetic Visions, Lieberman’s fifth solo show at Gallery North amid many group exhibitions, is the latest harvest of a long, fruitful relationship. Making their public debut, the paintings invite viewers to seek the serenity of soulful solitude.  

For Lieberman, these works reflect an introspection born out of necessity: they were primarily started during the COVID-19 lockdown, when he ceased teaching painting and figure drawing as an adjunct professor at Stony Brook University. 

Informally referred to as the “COVID Driveway Series” by Lieberman, the paintings reference a time when circumstances encouraged him to find novelty in the known as he navigated the unprecedented pandemic.                                                                                                                                        “It has become rather a cliché to speak about how ‘COVID made me do it.’ Or how one’s COVID experience framed and affected their work.’ But…it sort of did. It gave me an excuse to cut my ties with everything. I stopped teaching, stopped going out, stopped going to openings, stopped going to New York,” Lieberman said in an email. “[My wife and I] canceled everything! It, the COVID experience, removed guilt from the decision…For us, we were lucky to have the ability—the luxury—to withdraw from the world.”

Setting up an easel at the furthest point of his property line and painting whatever he saw in all directions, Lieberman experimented with different points of view, paint techniques, and previously untapped styles of brushstrokes. 

Such interior creativity born of outside chaos is evidenced in the precise details and less defined boundaries of Lieberman’s paintings. Using the landscape as his muse results in a sort of inherent optimism; even as trees appear bare, traces of green can be found — the promise of fertile rebirth. 

“My garden has become a big giant motif — a living still life with endless variations…my Giverny,” Lieberman said. 

Almost impressionistic brushstrokes illustrate different types of foliage and lighting as well as rich bright colors for the plants, beautiful blue reflections on fencing, and similar nuances, according to Schwarting. 

“Bordering on abstraction, it is a very identifiable scene, but areas of canvas draw you in and almost become an abstract moment on the canvas. It happens very organically, a natural process of him exploring the medium through his paintings. There is an amazing juxtaposition of abstract, painterly brush marks, with drips of the paint. I love how you can have both in one place,” she added.  

A singular entity containing multitudes is a recurrent theme in the art of Lieberman, who began his career in the figurative art world of New York City. 

Traces of the genre are apparent in elements of Poetic Visions. Representative objects contrast and complement the somewhat subjective wonderland Lieberman’s paintings project, revealed to onlookers by the revelations of his paintbrush. 

“He developed a sort of a new vision of his home during [lockdown] and it came through daily examination of his surroundings. When you look at something long enough, you begin to see it differently and start to think about the larger meaning behind the growth of a flower, the changing of a season, or how light can illuminate colors,” Puchner said. 

Lieberman’s contemplative examination was a three year study that he now strives to share and shed. Like most acts of creation, the process of producing the paintings was a labor of love; Poetic Visions is a culmination of Lieberman’s efforts as he looks towards the next endeavor. 

“I worked hard, I worked for three years on these paintings. So I care about them. I look forward to getting them on the wall and looked at. An added bonus — [having] my studio clean so I can move on to the next thing. Trying to make great paintings is always the goal,” he said. 

Gallery North, 90 North Country Road, Setauket invites the community to an opening reception for Poetic Visions on Thursday, Aug. 24 from 6 to 8 p.m. and a free ArTalk with Lieberman on Saturday, Sept. 9 at 3 p.m. For more information, call 631-751-2676 or visit www.gallerynorth.org.