Subject: Nicholette Kominos - A Studio Visit
by Rene Deloffre

In Echo Park many streets rise seemingly straight up at precipitous
angles and descend the same way. One could say that this is Los
Angeles’ version of Wayne Thiebaud’s San Francisco hills. In fact, if
you drive up one of these hills fast enough, you can get all four car
wheels airborne and loose complete sight of the road while
transitioning the short hill top before crashing down on the other
side. This was the place that many early auto manufacturers tested
their cars for hill handling.

Why was I terrorizing myself on these Echo Park roller coasters? I was
visiting the studio of the artist Nicholette Kominos, who, like Marsha
Barron whom I previously reviewed, is another L.A. hidden “gem.”  I
first saw the art of Nicholette Kominos in a group exhibit at
Pasadena’s Offramp Gallery, a unique space owned and operated by the
effervescent Jane Chafin, and saw a kinship between the works of both

Barron achieves her results with a rich palette of colors and organic
like forms while Kominos does so with a limited color palette, sharp
value changes, and essentially geometric forms; yet both contain
delicate lines and shapes that end up presenting a bold effect, and
both artists are masters at visual placement.

Originally a psychology major at the Southern Illinois University,
Kominos had been contemplating becoming a writer until she had a
notion-- call it an epiphany-- to turn instead to art.  When one views
her works, often on vellum because she loves its unique transparency,
it’s not difficult to see that her change from writing to creating art
made sense for her. She has created a personally-invented visual
language, dynamically placed on parchment like surfaces as if they
were a substitution for a written language. These various rhythmic
forms float in large negative spaces, often reminding me of musical
scores on lined paper. But for Kominos, art offered an added bonus
that writing did not, physicality. She emphasizes this by constantly
manipulating her surface; she may crinkle it, tear it, and even leave
thumbprints on it.

Kominos relishes the isolated nature of doing art. She claims she is
rather on the shy side (deceptive when one listens to how clearly she
articulates on varied subjects) and that the solitary activity allows
her to undergo an unrushed process of stepping back and analyzing all
that has been over-stimulating in her life.

But why do most of the things in her paintings float in a sea of
white?  Her entire studio is painted white, with a white work even
hanging on one of the white walls. Brancusi once wrote that
“Simplicity is not an end in art, but one arrives at simplicity in
spite of oneself, in approaching the real sense of things…” And so it
is for Kominos and her art, simplicity is for her a way to
“emphasize.” White is also a color that represents the “mysterious”
for her; it is no accident that the minimalist painter Agnes Martin
informs her work.

Some might see Zen in her works but for Kominos her art has nothing to
do with that world. She is fascinated with the self-analytical process
and history of the psychoanalytical tradition. That is what drives her
art, as she stated, “…the elements floating in this space represent
the dwellings of the piles of little things that preoccupy our lives,”
and the white is a “tabula rasa” for activating her psychological

Often there is a simple dividing line separating the white area. She
does this purposefully to create a sort of left mind, right mind
hemispheric division. But to Kominos, they’re not really separated but
work together simultaneously where the viewer can gaze on two or more
things occurring at the same moment in time. Divisions in her art
represent the multiple divisions within us, the entire constant small
conflicts occurring in our lives. In the artist’s own words, she
“…combines the intellectual, the emotional and the physical.”

Living in this amniotic environment are a variety of loose
representations of objects or simple lines, grids, squares, and other
such things.  One of her series revolves around the integration of a
single spoon on each picture, something that would not seem foreign to
Eva Hesse, another artist who strongly informs her work. As in Hesse’s
work, objects in Kaminos’ spaces really move, nothing is static and
nothing is linear. Lines mutate through other forms, like squiggly
lines or a lined square where the filled-in color doesn’t quite fit.

Personally, I would be content to simply enjoy her paintings on a
visceral level, reveling in their marvelously achieved ambiguities
without reference to a codebook.  But her symbolic representations
about confronting and resolving the multiple problems of life
simultaneously within our two hemispheric lobes must be working,
because I see no dangling parts in her art, she really produces the
stuff of gestalt.