June 14, 2013

Fort Worth artist Helen Altman spends a lot of time thinking about nature and animals. Her environmental focus is reflected in her artwork, which is valued by collectors from San Diego to New York City. 

Fig. 187-California Black Oak, 2012. Acrylic on paper, 40.5" x44."

Her work springs from her love for plants and wildlife that dates back to her childhood in Alabama, where she considered majoring in biology.

“It’s what’s interesting to me,” she said. “Hopefully it will be of interest to someone else.”

Her show "clear view" at Talley Dunn Gallery in Dallas offers a sampling of Altman’s current work, which includes paintings, drawings and sculptures.

Fig. 63 - Balsam Fir, 2013. Acrylic on paper, 40" x 46."

Many of her pieces evoke a nostalgic feeling, harkening back to an era before the environmental movement and global warming were hot topics. For example, her tree series features intricate monochromatic acrylic paintings made to look like vintage prints. She began the series after discovering a 1948 tree guide that engrossed her. 

“I’ve always loved field guides,” she said. “I like learning the names of things. My mother knew trees so much better than I. I’ll never know them that well but I like trying.” 

To come up with subjects for her tree paintings, Altman sometimes goes out with her camera but typically searches through hundreds of photos of trees on the Internet until she finds something compelling. After manipulating the images with computer software, she turns them into slides that are projected onto gessoed paper. She then painstakingly traces them with paintbrushes. Adding Latin names at the bottom, she creates beautifully intricate images depicting "textbook" examples of evergreens, palm trees and oaks.

Bear Cub (with burn hole),  2012. Torch drawing on paper, 22.5" X 30"

The show also features her torch drawings, created by using a propane torch to burn images of wildlife such as deer, coyote and bear, on water-soaked paper. She admitted part of the appeal of the medium is her lifelong fascination with fire. 

“We used to build little fires in the backyard when we were kids,” said Altman, whose previous work included an installation of fake fireplace logs. 

She discovered torch drawing while working on a conceptual piece and fell in love with effect the flame made. 

“The tool itself does so much of the work and creates the magic for you.”

Torch drawings. Courtesy of Talley Dunn Gallery

To find images of animals, she said she often sticks to children’s books instead of surfing the web. Otherwise, things can quickly turn macabre, especially with game animals. For example, a search for big horned sheep or moose reliably turns up carcasses of trophy hunters. 

“When someone asked me to do a Spanish bull, I thought about charging extra,” she joked.

Branch Cardinal (2), 2012. Wire & Manzanita branch, 4" x 10" x 5."

For the show, Altman created an installation with pieces from her ongoing bird series. To make the birds, Altman weaves wire mesh, sometimes with telling detail that reveals the species. It's another reflection of her accumulated observations.

“Birds are a big part of my everyday life and are a constant source of joy. Everyday I sit and watch the birds from my window.” 

Fortune Teller, 2012. Cast plastic, epoxy, lead weights, monofilament line, Cornell box, linen, steel pins, Fortune Tellor  Miracle  Fish envelopes and cellophane fish, 19” x 16.5” x 3.”

Meanwhile, Altman shows her sense of humor with her goldfish series. The mounted cast plastic goldfish, titled Miracle Fish and Fortune Teller, take off  from a novelty item, sold on the internet. 

Although this piece, along with the rest of the show, will likely evoke thoughtful reflection among adult viewers, Altman said children respond to it best.

“They approach the work without trying to understand it,” she said. “They just experience what’s in front of them.”

Helen Altman, clear view 

When: Through July 27, 2013

Where: Talley Dunn Gallery, 5020 Tracy Street, Dallas, Texas 75205

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