I did not expect a show of this exacting caliber, making it all the more wondrous. Official imagery here: Gallery Link
and on Facebook under Theodore:Art. Curated by Stephanie Theodore and Jill Weinberg; the install is amazing. Above, detail from Laurie Fendrich's painting: slow, intense, dense, meticulous.
Starting off, the chromatic glow
of near-florescent hues absorbed by packed dirt black stripes by Eric Santoscoy-McKillip provide a visual thesis of sorts for the show.
|Gary Petersen's ode to mid-century linearity|
brings lightness to tape and layers rendering canvas another color or texture.
|The dynamics build quickly and forcefully between works|
and by the first grouping, the eye is mystified and delighted.
|Sharon Butler's paintingimbues stripes and geometric shapes with unexpectedly casual facture. A visual aporia results from coalesceing soft and hard elements.|
|Another spectacular grouping, with Richard Kalina's collaged surface bridging|
the terrain between Butler's frisson and Santiscoy-McKillip's surfaces.
|It's so smart! We can't really make sense of where we are, yet the decisions|
from one artist to the next interrelate in all sorts of subtle ways through tactility, edge, color, and shape.
|The narrative continues. The building blocks of house--line, shape, edge--destabilize in paint, arguing for painting's radicality.|
|Across the room, a jam between Kalina, Butler and Petersen.|
|Butler's off-the-cuff tensions invite delicious problematics for expectations of stability.|
|Kalina's edges softened by facture call or respond to Butler's provisional geometries.|
|Color weaves over surface shifts like a river, binding the works.|
|Butler's four-step painting surface is covered, not true for all her works in this show. Here and elsewhere edges, sometimes painted other times not, shift focus from inside the painting outward.|
|This exhibition challenges us in segments, compositional space that refocus decisions from area to area and question solidity in form and perception.|