In reviewing his oeuvre, Sublett can be seen working from the observed and real and from abstract derivations from the real. His thinking allows him to flow back and forth from the real and abstract without boundaries. This constant metamorphosis produces his wide range of styles. In some ways, it reminds one of the digital ‘morphing’ seen in recent science fiction movies where familiar images are transformed. His mind and eye give freedom to his brush to explore whatever approach may be needed to fulfill the purpose at hand. His ability to see reality many ways, each equally “truthful”, has given the body of his work astonishing variety. It challenges us to journey with him on his perceptual odyssey.

A Mountain of Art

Carl Sublett is an incredibly prolific artist. In his 87 years he has worked virtually all day, every day, of his professional career creating thousands of paintings and drawings. Sublett’s work falls into two broad subject categories: his

landscapes and his serial works. While often derived from landscape motifs, the serial works explore formal, aesthetic, and content issues beyond purely descriptive realism.

In the Marks Series and Rhythm Series begun in the late 70’s and early 80’s, there appears to be a synthesis of abstraction, suggested imagery, and gestural mark-making. In a formal sense, these series combine many of the pictorial “truths” discovered in earlier series. Each stroke is measured, controlled, and placed in precise, layered patterns so that the overall embracing shapes and gestural marks are in dynamic balance. As in music, the multi-direction strokes resemble rhythmic patterns or beats, while the melody of shapes frame and give unity to his visual “song”. Echoes of vaguely suggested images tie the composition to its particular thematic subject. These series are especially clear examples of Sublett’s interest in creating visual “energy” through pulsing strokes.