by David Acevedo

There is a soft, pure, clean breeze in the air with the scent of forest and morning rain. Suddenly, a cornucopia of unique hues appears in an abstract, yet comprehensive, state. Out of the painted fog, you begin to see that there are lions, kings, whales, boats, and elephants taking shape. That is the art of Veron Ennis, an artist who approaches her vision with intense fervor.

To speak about Ennis’s work, one must focus on the essence of her beautiful line of abstracts, which vary in composition but maintain the sense of consistency of a mature body of work. There is a sense of balance in her pieces and a feeling of premeditation, which is very difficult to achieve in abstract execution. Rarely do patches of color on white paper, hanging by threads, inspire so much emotion.

However, during Ennis’s solo exhibition at Fort Myers-based daas Gallery last May, entitled “Paper Milk,” visitors enjoyed a selection of esoteric pieces meticulously displayed in what felt like a forest of white snow in the heat of Florida’s summer. “Upon the discovery that I was expecting our first child, a wave of inspiration and joy flooded my thoughts and I immediately began the ‘Paper Milk’ series by painting the first ten inch by ten inch piece entitled Elephant,” says Ennis. “One after another, I embarked on a journey to interpret each painting with childlike innocence and imagination. This opened up an infinite number of doors, allowing the series to grow and grow without struggle or stress.”

In one piece on view, a bear sat by a lake waiting patiently for whatever it is that inspires bears to wait. However, it was not a bear. It was a patch of beautiful grayish blue tones, dark and lighter hues of cobalt blues, turquoise skies, and touches of cadmium yellow. The mere fact that this piece was created as an abstract mixed-media composition, and then highlighted to reflect the image of a bear by a lake, is simply extraordinary.

All of the work contained in Ennis’s recent collection was created the same way. Her process is one that she, justifiably, keeps to herself. But she’s willing to reveal that there’s no thought of an elephant, lion, boat, king, or bear before the execution of these pieces begins.

These works, carefully applied to soft, crisp, 100 percent cotton rag paper, spoke to the artist and dictated names and titles. The king that sat by his window overlooking his solemn and peaceful Kingdom was just traces of greens, blues, reds, and yellows patiently manipulated to coordinate and transform itself into the beautiful image.

A grand piece in the center of the exhibit space hung from a thin piece of red bamboo. Suspended by seven white threads, it was a statement to the magnificence of Ennis’s work at any scale. Trinity was a mixed-media piece on the same paper as the others, but measured forty-eight inches square. Greyer, softer tones with strong marks of red provoked a thousand different emotions. You could stop and stare for a long time and discover new paths and trails in the story of this piece.

It was a true manifest of how abstract work is open to the interpretation of the spectator. Not surprisingly, Trinity was acquired by a collector during the opening reception of the “Paper Milk” exhibit, and so were many other pieces that night.

But Ennis’s talent does not stop here. She is also an art critic and writer as well as a gallery curator. Her writings in art theory and criticism have appeared in magazines such as Art Districts (as well as this publication). She has organized and coordinated exhibitions for Cape Coral’s Ferrari Gallery in past years and has earned a strong reputation among the arts communities of Southwest and South Florida.

Those who have the pleasure to meet Ennis are instantly taken by her transparency and positivism. Her maturity is reflected in her work, and the calculated understanding of the media she utilizes backs up the strength of her creations.

The success of her “Paper Milk” exhibition at daas Gallery demonstrates that there is acceptance of and support for abstract and abstract-expressionist art in Southwest Florida. “I was overjoyed during the opening, as I watched each person lean in and smile as they figured out what each piece looked like,” says Ennis. “I really felt there was something there for everyone to fall in love with.”

The Fort Myers area had been dominated by artists with a more classic style embodied by a traditional approach and subject matter. Artists like Ennis bring a different light and a contrasting palette to the local arts scene.

“Veron’s ‘Paper Milk’ series fuses the complexity and compelling nature of the abstract with a warmth and elegance reminiscent of the Fauvists,” says Joseph Grubbs, a Fort Myers–based author and documentary filmmaker who has become one of Ennis’s primary collectors. “Her tones are softer and earthier than the Fauvists, but her works welcome the viewer into a beautiful space, one that washes over you like summer rain.”

Ennis herself took gigantic steps as the curator for the Ferrari Gallery. She made it a point to exhibit contemporary and out-of-the-box art at the gallery through many successful exhibitions.

In her own work, viewers find a poem and a story. A legitimate feeling of womanhood and maternity surrounds her latest creations, and more will come out of Ennis’s ingenuity as she announces a new series of larger-scale works to be produced this year and another ethereal exhibition in the near future. There will be more extraordinary whales and lions, kings and bears, and who knows what else. For now, we are left with the promise of more. We can only wait patiently for these new images, stories, and beautiful poems on paper.

David Acevedo is a visual artist, curator, and co-owner of daas Gallery in Fort Myers.