MARC MANNHEIMER REVIEW 1995

"In Joan Dunkle's works we can see a relationship to a long historical line of collage/ assemblage pieces.  When Kurt Schwitters first came up with the idea of using a combination of found and discarded "things" to create unique art works, it was revolutionary.  Dunkle's pieces fit neatly into this tradition, and evoke an interesting dichotomy of reactions - both historical and contemporary.

In her work we can see a real feeling for the objects.  She has stated that her"   art is intuitive - concerned with the magic of transformation..."  These "magical transformations" are quite evident in her art.  She is able to take weathered wood, a recurring element, and by combining it with diverse objects, pull a wide range of color from it.  In the piece "Double Deposit,"  the wood integrates so completely that at first viewing it disappears.  This piece has a very classical, collage structure, one that evokes the 1950's pieces of Robert Motherwell.  The predominant colors are coppers and browns, but, what makes the work are the touches of blue near the top center that draw the eye down to the black edge of the applied wood.  From this strong vertical, we can follow the flow to a blue-black hand-like shape near the bottom.  The eye then proceeds to move across to a dark and light divided element, with a neutral piece of wood applied over the intersection of color, angling back up.  This seemingly complex juxaposition of forms allows for the continuous movement of her work.

This movement I speak of is extremely important feature of Dunkle's work.  All of her pieces are composed with a musical sensibility.  When viewing her art, it is quite easy to "hear" them.  They slide and jump across space, moving in an intricate, but simplistic, dance that organizes and joins these diverse elements into wonderfully realized works.  Her art,"...pays homage to the process of time...", she has stated. Time is the undeniable base of music.  When we listen to music, these sounds take up time and transmit to us feelings that can be amazingly layered, in the same way that Joan Dunkle has layered the elements of her collages.  Her extraordinary way of simply bending metal to evoke a variety of images is an accurate metaphor for the infinite variety of combining the basic eight notes of the musical scale.

When you view Dunkle's work, allow yourself to be taken away by the moment.  Move in and around her forms.  Follow the angles and twists that will project your thoughts into her intense but easily entered world.  Spend time in front of these collages.  Time went into them, time composes them and ultimately time will allow you to appreciate how elegantly they are presented.

Marc Mannheimer - October, 1995  Laura Knott Gallery

MARC MANNHEIMER REVIEW 1995

"In Joan Dunkle's works we can see a relationship to a long historical line of collage/ assemblage pieces.  When Kurt Schwitters first came up with the idea of using a combination of found and discarded "things" to create unique art works, it was revolutionary.  Dunkle's pieces fit neatly into this tradition, and evoke an interesting dichotomy of reactions - both historical and contemporary.

 In her work we can see a real feeling for the objects.  She has stated that her"   art is intuitive - concerned with the magic of transformation..."  These "magical transformations" are quite evident in her art.  She is able to take weathered wood, a recurring element, and by combining it with diverse objects, pull a wide range of color from it.  In the piece "Double Deposit,"  the wood integrates so completely that at first viewing it disappears.  This piece has a very classical, collage structure, one that evokes the 1950's pieces of Robert Motherwell.  The predominant colors are coppers and browns, but, what makes the work are the touches of blue near the top center that draw the eye down to the black edge of the applied wood.  From this strong vertical, we can follow the flow to a blue-black hand-like shape near the bottom.  The eye then proceeds to move across to a dark and light divided element, with a neutral piece of wood applied over the intersection of color, angling back up.  This seemingly complex juxaposition of forms allows for the continuous movement of her work.

 This movement I speak of is extremely important feature of Dunkle's work.  All of her pieces are composed with a musical sensibility.  When viewing her art, it is quite easy to "hear" them.  They slide and jump across space, moving in an intricate, but simplistic, dance that organizes and joins these diverse elements into wonderfully realized works.  Her art,"...pays homage to the process of time...", she has stated. Time is the undeniable base of music.  When we listen to music, these sounds take up time and transmit to us feelings that can be amazingly layered, in the same way that Joan Dunkle has layered the elements of her collages.  Her extraordinary way of simply bending metal to evoke a variety of images is an accurate metaphor for the infinite variety of combining the basic eight notes of the musical scale.

 When you view Dunkle's work, allow yourself to be taken away by the moment.  Move in and around her forms.  Follow the angles and twists that will project your thoughts into her intense but easily entered world.  Spend time in front of these collages.  Time went into them, time composes them and ultimately time will allow you to appreciate how elegantly they are presented.

Marc Mannheimer - October, 1995  Laura Knott Gallery