Multiple distinctive horizon lines and an impossible to miss obelisk mark this painting. With the increased space between the fore, back, and middleground layers one almost tastes an element of surrealism.

This brings up a fascinating point about Austin’s particular flavor of rosemaling. Throughout much of her work, the rosemaling itself takes on a neo-baroque style. The richness supersedes by varying degrees the simplistic nordic tradition from whence the technique was derived.

When the background upon which the rosemaling exists is just as ornate, the effect is integrated. The end result in this case, however, is something that’s so detailed and ornate by comparison to its surroundings that we feel we need to categorize it as intentionally absurd and divine at the same time.

The details here matter greatly. If it weren’t for the monochromatic spaces between the patterns and the great obelisk itself at the center, we wouldn’t be as compelled to judge this work as one of extremes. But the obsidian slab and formless colors make the extravagant details all the more pronounced.

Anaglypta is another painting that follows ornate sophistication to one logical end. The end result of that painting being something almost incomprehensibly complex and beautiful. Here we have the same treatment, but positioned in carefully distanced quadrants as though limitless gods are peering in on facile mortals. The visual concoction is every bit as mesmerizing but for wholly different reasons.