REVIEW | 'Trine Bumiller is the most intimate sort of landscape painter. She captures the vastness of the Western terrain in oil, but she does it tree by tree, bough by bough, twig by twig.'
Trine Bumiller is the most intimate sort of landscape painter. She captures the vastness of the Western terrain in oil, but she does it tree by tree, bough by bough, twig by twig.
Bumiller edits her scenes like a photographer. She cuts off the trunks of trees or the tips of their tallest shoots, so viewers focuses on the center, on the soul of these living things. Her flowers, seedlings and vines are strangers, but always seem to be sharing their most personal details when we look at them.
Bumiller offers up not just an exhibition of recent work, but also an enveloping environment, heightened by the fact that she painted horizontal black stripes along all of Emmanuel’s walls before hanging her work on them. It works. Emmanuel, constructed in 1879, was in its past a sacred site, and it touts itself as Denver’s oldest standing religious structure. It started as an Episcopal chapel and then spent decades in the 20th century housing a Jewish synagogue. It is on the National Register of Historic Places.
But Bumiller’s exhibition is transformative for Emmanuel, and in such lovely way. She does respect its past, allowing her paintings to fall in harmony with the architecture rather than trying to obliterate it. Trine Bumiller’s “Morning Glory” is a 4-foot-square oil on panel painting. All of the work in the exhibition was created this year.
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