David Cain

  Like the impressionists before him to which most of his work is related, David Cain is absorbed by the way in which light at different times of the day transforms the landscape. He is Preoccupied purely by what the eye sees. Indeed, the play of light upon his forms is what structures his canvasses.

   Some of his pieces are reminiscent of Monet, who was absorbed late in his career by a series of water lilly paintings. Those studies were essentially studies of reflections upon water. (They are significant in that they presaged much of contemporary painting).

    Again, not unlike most impressionist, Cain uses a brush thick with pigment. Other pieces are grainy approaches. Both are equally successful.

    Cain uses the brush in a very sure and painterly way. He is not afraid of leaving his mark upon the canvas. This lends a vitality and marvelous spontaneity to his work.

    The artist's figure studies and still life are genre pieces, unselfconscious studies of themes casually absorbed. ( These works stem from a long tradition which first appeared in the Flemish Masters).

    Many of those canvasses are stark and lonely. They will evoke personal memories to each observer. They are best observed by exploring the cross-currents of recollections they evoke.

    In Cain's art, nature does not demand that you look; it does not command you; it invites you with a velvety voice. His work is Circe calling - to relax and enjoy.