



Review
By Mark Jenkins
Contributing reporter
March 18, 2022 at 6:00 a.m. EDT
Somewhere in most of Rosemary Feit Covey’s recent artworks are woodcut prints, detailed renderings of birds, bones and butterfly wings. But the zoological imagery can be deeply submerged in compositions so layered that they verge on being relief sculptures. The South Africa-born local artist’s “Descartes Died in the Snow” show, named for one of her mixed-media pictures on display at Morton Fine Art, both depicts and simulates nature’s fecundity.
The largest piece, and one of the oldest, 2017′s “Black Ice” is a monumental painting of a glacial scene stretched across eight vertical canvases in the manner of a traditional Japanese screen. It is simpler and more direct than many of these artworks, yet shares several qualities. It’s nearly monochromatic, portrays ecological threats and mixes customary artistic materials with shredded plastic, a substance that exemplifies mankind’s intrusions on the natural world.
Inspired in part by the organic networks generated by fungi, Covey fills her pictures with repeated organic forms, whether the animal skeletons of “Broken Earth” or the firefly-like pinpoints of “Panspermia III.” The latter is among the show’s most colorful works, but its many hues are buried in a complex array that appears black and white from a distance. The colors are subordinate to the whole, as are the recycled plastic mixed with pigment, or the tiny black magnets that hold in place the myriad collage pieces. Covey’s vision is of nature at risk, yet nonetheless growing abundantly and every which way.
Rosemary Feit Covey: Descartes Died in the Snow Through March 31 at Morton Fine Art, 52 O St. NW, No. 302. Open by appointment.
ARTIST ROSEMARY FEIT COVEY VISUALIZES LOSS AND REBIRTH IN THE AGE OF THE ANTHROPOCENE
Responsive to the rise in global climate disasters, Rosemary Feit Covey’s speculative works solemnly imagine the landscapes of the future
Morton Fine Art (52 O St NW #302, Washington, DC) is pleased to present Descartes Died in the Snow, a solo exhibition showcasing work by Washington, D.C.-based artist Rosemary Feit Covey, on view from March 3–March 31, 2022. Marking both the debut of new work and the reactivation of older works, the exhibition uncovers new dimensions within the artist’s vast oeuvre. Taken as a whole, this collection of work illuminates the fragility of life on our embattled planet, recognizing the catastrophic ecological losses that mark our current era while turning a hopeful eye towards altogether new horizons.
Covey’s current focus on environmental concerns is informed by 20 years of collaborations with scientists, during which biology, ecology, and mortality have remained steady themes of the artist’s practice. The past three decades have seen the artist rise as an established wood engraver, followed in recent years by an expansion towards mediums including experimental printmaking and mixed media. From the replication of the printmaking process to the carving of the printing block, Covey’s works attend to personal analogies of physical and emotional fortitude; through the manipulation of absence and presence, lightness and darkness, the artist evokes a darker psychological sensibility within complex figural representations.
While maintaining the artist’s long-standing engagement with psychologically challenging—and oftentimes troubling—subject matter, the diversification of Covey’s mediums highlights the artist’s continued innovation in the arenas of both technique and narrative. In a titular nod to the life and work of 17th century philosopher René Descartes, Descartes Died in the Snow reflects Covey’s own artistic philosophy, that of art-as-exploration. In admiration of Descartes’ unfettered curiosity and his resulting great lengths of inquiry, Covey draws parallels with the experimental potential of artistic practice. “We artists can apply logic and intellectual research, then throw it all to the winds, allowing for alchemy and the unconscious to cross-pollinate with the natural sciences as we create,” Covey says.
Moved by recent climate disaster scenarios in South Africa—the country of her birth—Covey’s most recent work responds to the fleeting nature of news cycles and the failure of journalistic channels to manifest sustained public awareness of such crucial issues. Having witnessed this subject matter quickly fall from the front pages, Covey understands her work to serve as an enduring reminder of environmental crises within a global consciousness. Of this profound responsibility as an artist in the present moment, Covey affirms, “In this manner, I am committed to using my skills to portray this delicate balance as we reach a precipice.”
Through delicate lines that comprise masterful compositions, Covey’s work operates at the intersections of beauty and terror, depicting melancholy aesthetics of mourning. From a mass of opalescent strokes, Covey’s Broken Earth (2020) pictures a heap of carcesses, inspired by Covey’s horror of an imagined parched earth. Elsewhere, blooms of pigment suggest oil spills, and falling petals hint at impending decay. Through a push and pull, characterized by sensorial enticement segueing into gripping existential inquiry, the artist’s foreboding imagery unmasks that which is hidden in plain sight.
While often ominous, Covey’s practice nevertheless evades nihilism; through the elevation of phenomena such as fungal networks, the artist’s work also finds its purpose in illuminating the structures which sustain the planet. Resulting from Covey’s partnerships with mycologists, Amethyst Deceivers (2019) depicts the symbiotic relationships between plant and fungal life, relationships that exude restorative potential amidst times of destruction. Through the artist’s lens, Covey’s audience is issued solemn warnings of a speculative future, yet the possibilities for healing are never voided—viewers need only look closer to find them.
ABOUT ROSEMARY FEIT COVEY
Born in Johannesburg, South Africa, Rosemary Feit Covey received degrees from Cornell University and the Maryland Institute College of Art, eventually relocating to Washington, D.C., where she currently lives and works. Covey has been represented by Morton Fine Art since 2010.
Covey has exhibited widely throughout the United States and abroad, including group exhibitions at the National Collection of Fine Arts and the National Museum of Women in the Arts. Solo exhibitions of her work have been staged at The Butler Institute of American Art; The Delaware Contemporary; the International Museum of Surgical Science; and the Evergreen Museum at Johns Hopkins University. Works by the artist are held in more than forty major museum and library collections worldwide, including the Corcoran Gallery of Art; New York Public Library Print Collection; National Museum of American History; Harvard University; and the Papyrus Institute in Cairo, Egypt.
Across various mediums, Covey has been commissioned by General Electric Astro Space, the National Institute of Science, Georgetown University, the New York Times, and the Washington Post, among other institutions and organizations. Covey’s literary illustrations have been commissioned and published by Simon & Schuster and William Morrow. She is the recipient of a Rockefeller Foundation Fellowship and Alpha Delta Kappa Foundation National Fine Art Award, and was the 2007–2008 Artist-in-Residence at Georgetown University Medical Center.
Rosemary Feit Covey was born in Johannesburg, South Africa. In a career spanning three decades she has exhibited internationally and received countless awards. Ms. Covey is the recipient of both a Rockefeller Foundation Fellowship and Alpha Delta Kappa Foundation National Fine Art Award. Ms. Covey’s work is in many major museum and library collections, including the Corcoran Gallery of Art, the New York Public Library Print Collection, the National Museum of American History, Harvard University and the Papyrus Institute in Cairo, Egypt. In 2007 a large retrospective of Ms. Covey’s science-related work was displayed at the International Museum of Surgical Science in Chicago.
Ms. Covey was the recent recipient of a fellowship at Georgetown University Medical Center, as the 2007-2008 Artist-in-Residence. She has also held residencies in Bellagio, Italy and in Santa Ana, California and has had solo exhibitions both nationally and internationally, including Toronto, New York, Chicago, Washington DC, Buenos Aires, Zurich and Geneva. Solo museum exhibitions include the Butler Museum of American Art and the Delaware Center for Contemporary Arts. Her work has been exhibited in countless group exhibitions including major exhibitions at the National Collection of Fine Arts and the National Museum of Women in the Arts. Most recently two pieces were shown at the Danforth Museum. Eric Denker, Curator of Prints and Drawings at the Corcoran Gallery of Art and Henry T. Hopkins, Director of the Armand Hammer Museum of Art and Cultural Center in Los Angeles have written comprehensive articles on Ms. Covey’s work.
Covey has been represented by Morton Fine Art since 2010.
Available artwork by ROSEMARY FEIT COVEY
On view by appointment at Morton Fine Art, 52 O St NW #302, Washington, DC 20001
info@mortonfineart.com
(202) 628-2787 (call or text)
Available artwork by ROSEMARY FEIT COVEY.
Morton Fine Art
52 O St NW #302
Washington, DC 20001
(202) 628-2787
mortonfineart@gmail.com
Available Artwork by ROSEMARY FEIT COVEY
Morton Fine Art
52 O St NW #302
Washington, DC 20001
(202) 628-2787 (call or text)
mortonfineart@gmail.com
Written by Mark Jenkins October 4, 2019
There’s a pleasing symmetry between what Rosemary Feit Covey depicts and how she depicts it. Most of the works in “The Dark Re-Imagined,” the Alexandria artist’s show at Morton Fine Art, begin with wood engraving. The white-on-black images are usually supplemented with painted colors and sometimes built up with thread or small found objects. But the incised lines are fundamental, and apt for conveying such hidden natural systems as a fish skeleton or a network of submerged fungi.
‘Amethyst Deceivers 11’ (2019) by Rosemary Feit Covey. Wood engraving, thread, painting on canvas, 36″x 48″
Feit Covey has worked with doctors and scientists — including at Georgetown University Medical School’s morgue — so her art is grounded in biological knowledge. Yet the works in this show are not mere illustrations. They attempt to convey the abundance of life, the inevitability of death and the link between the two. In such intricate compositions as the swirling “Fish,” the individual blurs into the collective, much as dead things are reabsorbed into living ones. Like a clump of black earth, Feit Covey’s pictures are dark but fecund.
Follow this link to view Available Artwork by Rosemary Feit Covey on MFA’s website.
Rosemary Feit Covey’s available work is stored on site at Morton Fine Art, stop by anytime during open hours or make an appointment to view these incredible creations up close in person. Wednesday – Saturday : 12 – 5pm, Sunday – Tuesday : by appointment Contact: mortonfineart@gmail.com -or- (202) 628-2787.
Rosemary Feit Covey’s “Gingko,” mixed media on canvas, on view at Morton Fine Art. (Rosemary Feit Covey/Morton Fine Art)
Nature teems in Rosemary Feit Covey’s large mixed-media paintings. Hundreds of pink and red fish school in spirals, and uncountable yellow ginkgo leaves cover most of a deep blue background. Yet the Washington artist has doubts about the fecundity she depicts. Her Morton Fine Art show is titled “The Planet Is a Delicate Thing.”
Covey’s skills include woodblock printing, whose carving technique she incorporates into low-relief pictures that are partly engraved and partly painted. This array’s epic, “Black Ice,” is an immersive eight-panel tableaux; it fills the gallery’s longest wall with blue-and-white ice floes on a darker-than-wine sea. The dramatic Arctic oceanscape, like the polar bear on the adjacent wall, was inspired by a trip to northern Norway.
The artist doesn’t directly portray ecological disasters, although this show includes one of the bone-pile pictures she has exhibited at Morton before. But global warming menaces the polar scenes, and those fish are fleeing the oil from the 2010 Deepwater Horizon blowout. Covey’s responses to such disasters are both expansive and exquisitely detailed.
Rosemary Feit Covey: The Planet Is a Delicate Thing On view through July 9 at Morton Fine Art, 1781 Florida Ave. NW. 202-628-2787. mortonfineart.com.
Please click HERE to view available artwork by ROSEMARY FEIT COVEY.
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