Connecticut Shore 1954

James Flora's 'Connecticut Shore', a black-and-white print, feels like a fever dream of boats and buildings. It is a process of world-building, carved in a dense, almost chaotic way. Look at how Flora crams everything in – the texture of the image becomes a landscape in itself. The black ink sits on the surface, slightly raised, creating a tactile experience. The network of lines in the centre, representing the church, is particularly intriguing. See how these lines are sometimes thick, sometimes thin, creating a rhythm that pulls the eye in. It’s like he's trying to capture not just the image of the church, but its presence, its weight, its history. Flora's visual language reminds me of other artists who play with form and narrative like Paul Klee. But where Klee is gentle, Flora is explosive. Ultimately, 'Connecticut Shore' celebrates art's capacity to resist definitive interpretations.