Unlike Harney’s realistic subject matter containing overlays of abstraction, Lee Muslin’s Dance of Spring is entirely abstract yet also captures the theme of the transitional space between winter and spring. There is a large dark purple paint swath in the upper left-hand corner of the painting, which drips down the center of the canvas. It is surrounded by other pastel colors, as well as some darker grey hues on each side. This painting seems to me to convey the encroaching springtime, accentuated by the pleasing pastel colors, but surrounded by the leftover greyness of winter. It’s as if it’s showing the spring actually banishing winter, making itself known by boldly occupying the center of the painting and dripping through the darker receding clouds. The patches of bright yellow seem reminiscent of sunshine, in contrast to the cloudy grey on the sides. And the brushstrokes are uneven, in some parts containing sharp lines, as if conveying movement or the remnants of a winter wind. As Muslin states: “I create a complex surface using many techniques that may include mark marking, collaging, stamping, and stenciling. Much is improvised as the artwork develops. A back-and-forth between spontaneity and intention characterizes my approach.” And the result is a beautiful symphony of colors, lines, and shapes that seem to capture the movement and dance of the emerging springtime.
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