Unsure of what art supplies might be available to him in Senegal, Cronin packed disassembled plywood panels into one of his suitcases. Those became the substrate of the 4 foot high, by 7 foot wide Tamba-Counda painting, a celebration of a local shop on one level– shirts hanging in the open air outside– an investigation of abstraction vs representation on another level, and more. If Mondrian moving to Manhattan led to Broadway Boogie-Woogie, being in Senegal led to Cronin’s Tamba-Counda. He reflects: “Beautiful... The village...The hand-painted signage. Nothing was perfect, what is perfect? Unpaved roads, dusty. Rugged, unpolished beauty. Not defined the way we define beauty here (in the USA).” Mondrian’s painting has a representational element, the subsidiary rectangles embellishing the defining grid are reminiscent of traffic in Manhattan streets and the rhythm of the Jazz he loved. Cronin’s work pulses with the barely contained energy of discovery. The imperfect hand-rendered geometry of the shirts dance with the zig-zag abstract diagonals and proximate black and white grid. To quote a lyric from a tune by the AfroAmerican musician Pharoah Sanders: “Love is everywhere!” This painting is ecstatic. 

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