“I want to to pursue Brauer’s and Emerson’s apprehension, to abound in their sense, and to complete their dialectic by asserting that it is just this ‘referred existence, and absence. . .among the silent trees’ that Kubricht has corrected, has indeed transcended. She is the artist who overcomes that terrible sense of failure of an ‘original response,’ answering Emerson’s plaint by what Emerson recognized when he found it in Whitman, but was ever suspicious of it in new art: complexity of multiple images and multiples of time: not a device of fragmentation, rather a necessary demand in reading the larger continuum of the whole ‘(Brauer).’”
“The second thing, of course, would be that her pictures connect us with what we never dreamed we knew or only dreamed: these images are discoveries of truth, made by the painter and, so managed and marshaled, faithfully confided to us. How I relish the fact that an invention (invenire, to come upon) is a ‘finding,’ as well as a ‘making’!”
................................................................................................................................................................~ Richard Howard, poet and translator
“Charles Mary Kubricht’s photographic analysis of a mountain from ancient use to modern surveillance through its related artifacts - arrowheads and a border patrol tower - explores memories that are out of our reach, landscapes that we can know and affect, and the irony of sensors that detect human presence in a place where the absence of the original people is far more significant.”
..................................................................................................................................................................~ Lucy R. Lippard, author and curator
“Paint is thickly laid down in structured blocks mimicking the pixilation of computer-generated reproductions; up close, the image dissolves, but when the viewer steps back, the cloudscape is vividly resolved. . . . The surface of ‘Clouds’ shimmers with changes in scale and tone, encapsulating memories of changing seasons, fluctuating perspectives, and elapsed time.”
..................................................................................................................................................................~ Alison de Lima Greene, curator
“The sublime is not what Kubricht is reaching for. Because the infinite cannot be reached, that attempt is a denial of life, even a kind of death sentence. She is not directly arguing against the soul, only that if such a thing exists, it exists in everything around us in our everyday lives. What she has achieved is transcendence, a rare state, but one humanly possible with and through works of inspired creation. In her reaching, Kubricht chooses mountains, canyons and rivers, the most iconic possible representations of nature. Transcendence is momentary, not absolute, not infinite, but it is a way of choosing the world we will always return to, the past, the future, and the now.”
.................................................................................................................................................................~ Elizabeth McBride, artist and critic
Charles Mary Kubricht, an artist living in Texas and New York, has been exhibiting her work in the US and abroad for three decades. Her work has been the subject of several museum solo exhibitions. The artist has been devoted to landscape concepts since 1989 and since 2005 she has focused on the photographic representation of the ever changing cultural and political events on Mount Livermore. In 2005, Charles Mary began reading military tracking manuals, David Harvey’s writings on human political geography, capitalism, forced migrations of humans, and Goethe’s writings on morphology. In order to see the landscape in new ways, she interviewed a retired U.S. Border Patrol tracker. This meeting resulted in tracking lessons, information about human and drug corridors in the area, and a conversation about nearby Mount Livermore - which can be seen from the artist’s studio in Marfa, Texas. After the tracker pointed out that Mount Livermore is a landmark for drug traffickers and undocumented workers backpacking through the area, she adopted the mountain as the focus of her artwork.
Moody Gallery in Houston, TX represents Kubricht’s work.