We start in the back room with small paintings distilling compositions from several larger works in the front space. The riffs on prior paintings yield alternatives that glow with precision. We are at High Noon Gallery tearing comfort apart to uncover spaces that acknowledge and reflect the double identity of the self in a capitalist world: simultaneously unconscious and hyper-conscious.
Paint becomes utterance troubling an already complex surface of interior, pour, print, and paint.
A dancehall or bar-like interior is disrupted by the un-nameable. What are these spears of light and gesture doing among printed pours and images? What are we looking at, where are we? We recognize landmarks, but it isn't so easy to know what the material is; we're thrust into a new kind of space that beckons vigilance.
Lavish swipes of paint are cut into the surface. We are both inside and outside.
In a smaller painting color leads us through gestures come alive like ghosts in the haunted rooms of former barons.
Looking out the window, an unfurling gesture and passing cloud hint at landscape, while patterns pile up inside the space.
In this masterpiece a curving pink inserts landscape in the center of a salon, already altered by a mysterious ink gesture. The abundant interiors with fluted columns, indoor plants, and candelabra, can't keep unwanted gestures out.