In Dara Mark’s work, there is clear and forward progression that first came expressed as circular forms rising in columns in the 2009 exhibition, WATER CIRCLES. The works were buoyant and full of movement. They were translucent and expressed depth. Above all, they highlighted the natural flow of the paint upon the Yupo paper – where the paint streamed and pooled until the pigment finally settled out leaving a sedimentary history.
In 2012 Dara’s work took another fast forward move – the work took on a greater flowing movement, with shapes more akin to topography; like stones that were compressed over time, and shaped by wind and water. Into this free-flow, Mark inserted a rigid counter measure - regular intervals of white space.
“I was thinking of the structured, measured works of Donald Judd,” she explained. What happened was a surprise—the larger shapes of wet paint allowed the watercolor to move around more and to pool more—the paint is actually freer. The semi-regular repetition of the stacked spaces supports a visual flow of paint from top to bottom of the painting and back again. Like the breath supported by the structure of the ribcage.”
In the years following the CHI GONG exhibition, the stop-action structure of white space took up a rhythmic pattern much like shallow breaths followed by deeper breathing. Sometimes the white bars were thin, sometimes thick.
Then slowly there was a capturing of volume, and the rectangular volumes of paint flow, between the white bars, became square. The white bars became a thin grid. The proportion changed the feel and balance of the layered works. Dara began to refer to them as ‘charts’ instead of ‘structures’ or ‘ribcages’. And the volume enhanced the viewer’s perception of depth; the flow of the paint came forward to the gridded structure and receded; as if defying the very attempt to contain and map its motion.