ART NEW ENGLAND, May/June 2011

    Review by Robert Moeller

        Patricia Crotty is equally adept at masking the commonplace—this after carefully     distilling an object’s vibrancy.  Crotty takes a soft approach with a muted palette, and yet there remains in her work a distinct chaos.  Shapes struggle against each other, while at the same time, supporting and curling together.  “Flowers 9” features an array of flowers that almost swing out to greet the viewer, moving forward naturally, but with an animated force.

    “Still Life with Flowers” is more direct and streamlined and also more abstract.  Here, the artist uses a tighter form and there is a balled-up energy present that contradicts the perceived narrative of the work’s title. Nothing is still and nothing is flowery.


WATERTOWN PATCH, January 20, 2012

    Review by Mary Roberts


. . . As for Crotty, her works are derived more by the ever-changing natural world.

"I'm inspired by nature and by the beauty in everyday life that is passing," she says. "I'm concerned about global warming, and part of what I try to do is capture a place in nature or a moment before it is gone. For example, when I paint flowers it's usually over a long time, and as I go along they become withered and die. I try to put this passage into the painting."

Crotty mostly uses oil paint, on canvas or paper, although she also works with acrylic. Most of her works are landscapes and still life paintings that are in between abstract and figurative.  She usually starts by sketching her landscapes or still lifes with either charcoal or pastels. From there, Crotty heads to the studio, where as she paints, the artwork tends to become more abstract.  Two of those abstracts, “Flotsam and Jetsam” and “Cloths of Heaven”, began while drawing the turbulent coast in the Isle of Shoals in New Hampshire.

"As I was working on ‘Flotsam and Jetsam’ I wanted to get at the essence of the turbulent sea, which I think of as the forces in life that toss us all around, over which we have no control," Crotty says. "’Cloths of Heaven’, which I worked on at the same time, became more about the sky reflected in the ocean, and I feel that it got to a point where it kind of transcended the turbulence to reflect a more peaceful realm."