Art Commentary

Greenport Galleries, Part II: The Siren's Song

by Marion Wolberg Weiss

"Awakening" by Fujita

Much has been made of the galleries in Greenport, especially regarding their physical location on quaint streets near the water, and their often Victorian architecture. Certainly the deCordova Studio and Gallery, discussed in this column last week, fits this description. So does The Sirens' Song Gallery, a Victorian house situated on Greenport's Main Street.

Like the deCordova Studio up the street, The Sirens' Song is also owned by an artist, Caroline Waloski, who, like Hector deCordova, has had extensive experience in the art world. (Waloski has spent 30 years in communication, promotion, advertising and interior design.)

Like the deCordova Studio, The Sirens' Song resembles a charming living room where we would like to spend a quiet afternoon sipping tea. We feel at "home" because it is actually a residence, even though the owner does not live on the grounds. (There is a carriage house in the back, however, which people can rent for a month at a time.) Moreover, there is an etching press studio available; the deCordova Studio also has hands-on workshops.

In a nutshell, what distinguish these galleries are their special settings that are unlike any found on the South Fork.

There is no one kind of art that signifies The Sirens' Song, although this critic remembers its exhibits of feminist themes and limited-edition prints. Such variety gives the gallery an air of anticipation; we never know what to expect when we walk into the space.

There's no doubt that the current exhibition of paintings by the Asian artist Fujita is unexpected as well. At first glance, the works recall Gauguin in their "flat" style and nude women. But then we realize that the setting is not the Pacific but Asia instead. The more we look, the more we see how other artists may have impacted Fujita, including Matisse's arresting patterns and Rousseau's jungle scenes.

Even so, there are unique qualities that distinguish these paintings. One trait is the raw sexuality, which may or may not seem intentional, depending on our point of view. Consider the images with a nude female and tigers (the paintings are titled "Cougars"). The meaning is open to interpretation, naturally, but there's something about the placement of the animals that points to a sexual theme. On second thought, maybe the idea is rather the connection between females and nature in general.

Another female figure is juxtaposed with fish in "Awakening." We wonder if fish are also a sexual symbol. Or are they simply a visual motif appropriate to the culture? We could ask the same question about another image where seashells lie scattered on the floor beside a nude woman.

In "Metamorphosis," images are painted on a nude figure's body. Such a painting represents a synthesis of Fujita's possible themes: art as decoration and sexual/cultural icons.

Call The Sirens' Song at 631-477-1021 for hours and exhibit schedule.

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