Review by James Scarborough (2019):
Marjorie Muns’ motifs are simple ones. They are the pictorial equivalent of chamber music. Rocks, fruit, and muffins, Flowers, postcards (postcards showing works of art!) and vessels. Animals (ceramic and glass, giraffes and ducks) and Japanese screens. Nothing looks out of place. The renditions are humble and attentive. Objects don’t look posed; they glow in a moment of epiphany. In a space that is more narrow than shallow, the better to focus on the things themselves in their particular moments and not their context. Along with sinuous lines and shapes that reinforce each other across the picture plane, color harmonies and pictorial weight are balanced to a perfect degree of just-rightness.
The work is sublime in its spontaneity. Consisting of found compositions of ordinary objects, Muns’ subjects are the stuff of Wabi Sabi, the Japanese art of impermanence. A microcosmic universe, here and gone. That’s why the choice of watercolor is so inspired. Fluid moments, a fluid medium. Giorgio Morandi’s still life paintings are timeless odes. Marjorie Muns’ are the poetry of haiku: gossamer and silent, a reminder that, across accidental encounters with beauty in the course of one’s life, the temporal trumps the timeless any time, any day.