Northeld Lights - Virginia Cohn Parkum, C. 1989

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Northeld Lights
Virginia Cohn Parkum, c. 1989

Virginia Cohn Parkum’s Northeld Lights reveals itself not as a landscape, but as … Read more Northeld Lights
Virginia Cohn Parkum, c. 1989

Virginia Cohn Parkum’s Northeld Lights reveals itself not as a landscape, but as a figure-bound composition whose title plays on expectation and perception. What initially suggests atmospheric light or celestial movement resolves into the presence of a human form — ambiguous, gestural, and partially dissolved into its surroundings. Parkum uses this perceptual shift deliberately, inviting viewers to confront how meaning emerges through looking.

The figure appears constructed through sweeping, calligraphic strokes rather than anatomical precision. Limbs and torso are suggested through directional movement and weight rather than contour. The body seems to bend forward or reach outward, as though engaged in labor, searching, or ritual action. The tool-like extension or elongated gesture emerging from the figure complicates interpretation: it could suggest work, defense, creation, or survival. Parkum resists clarity, allowing gesture to carry psychological weight.

Color and surface play a crucial role in dissolving the boundary between figure and environment. Rather than isolating the body, Parkum embeds it within fields of diffused light and layered pigment. Areas of luminosity appear to radiate around the form, not as natural phenomena but as emotional atmosphere — a visual aura that both reveals and obscures the subject. This ambiguity reinforces the painting’s refusal to stabilize into a single narrative.

The title Northeld Lights — notably not Northern Lights — introduces a linguistic tension that mirrors the visual uncertainty. The word “held” suggests containment, suspension, or endurance. Instead of an external spectacle in the sky, the “lights” may be internal, held within the body or psyche of the figure. The painting therefore shifts from a depiction of nature to a meditation on resilience, burden, and the human capacity to carry illumination amid darkness.

Parkum’s brushwork remains urgent and physical. Swept passages of paint retain the energy of their making, while areas of thinner application allow the ground to breathe through the composition. This interplay produces a sense of motion, as though the figure exists in flux rather than stillness.

In Northeld Lights, Parkum challenges viewers to move beyond initial assumptions. What first appears atmospheric becomes corporeal; what seems external reveals itself as internal. The painting holds a figure suspended between effort and illumination, suggesting that light is not something observed from afar, but something borne, endured, and carried within.
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