Tightrope Walking Over Delusions Swampland
There鈥檚 an aspect of tightrope walking to all of the works in this exhibition, a high-wire act where a shift in emphasis one way or another can destroy a delicate balance. The painters in this show all utilize abstraction as both tool and content, a particular kind of image making. It鈥檚 an investigation, whether through a formal structure or the constantly shifting chaos of expressionism. Abstract painting has its own history and each of these artists looks for their version of that story. Each painter finds the internal logic of their works.
Rochelle Feinstein offers a fairly idiomatic abstract painting which she disrupts with an acetate film of an image of a luggage ramp in an airport. Her subject is the intrusion, the emotional impulse required to subvert the painting with the presence of the film..
Munro Galloway鈥檚 paintings are driven by a desire to find the coding of abstract painting. His investigation focuses on color, space, and line as a way in. Found objects and images, flyers, posters, brochures, provide a ground for drawing, a pictorial space that the subsequent layers and actions contend with. Color is the visual element that gives the paintings their symbolic and emotional significance.
Larry Greenberg brings a surprising delicacy and a precisionist strain to a searching, abstract expressionist method. Almost nothing is knowable, other than the belief that moving around of paint can conjure up a subject.
Like Feinstein, Suzanne Joelson brings her paintings out toward the viewer by adding elements to the painting鈥檚 flat surface. She has no less interest in the inclusion of known things, like scarves, into a painting which uses the vernacular of abstraction and does it with arms open, a refashioning of the formal possibilities of material and story.
Adam Simon navigates between the familiarity of abstract idioms and the familiarity of corporate logos. His work looks back to Bauhaus, where form, as design, is investigated as subject. The function of the logos that fill our vision and direct our thoughts on a daily basis is here frozen, the perfected image as perfect form, as subject.
There鈥檚 an aspect of tightrope walking to all of the works in this exhibition, a high-wire act where a shift in emphasis one way or another can destroy a delicate balance. The painters in this show all utilize abstraction as both tool and content, a particular kind of image making. It鈥檚 an investigation, whether through a formal structure or the constantly shifting chaos of expressionism. Abstract painting has its own history and each of these artists looks for their version of that story. Each painter finds the internal logic of their works.
Rochelle Feinstein offers a fairly idiomatic abstract painting which she disrupts with an acetate film of an image of a luggage ramp in an airport. Her subject is the intrusion, the emotional impulse required to subvert the painting with the presence of the film..
Munro Galloway鈥檚 paintings are driven by a desire to find the coding of abstract painting. His investigation focuses on color, space, and line as a way in. Found objects and images, flyers, posters, brochures, provide a ground for drawing, a pictorial space that the subsequent layers and actions contend with. Color is the visual element that gives the paintings their symbolic and emotional significance.
Larry Greenberg brings a surprising delicacy and a precisionist strain to a searching, abstract expressionist method. Almost nothing is knowable, other than the belief that moving around of paint can conjure up a subject.
Like Feinstein, Suzanne Joelson brings her paintings out toward the viewer by adding elements to the painting鈥檚 flat surface. She has no less interest in the inclusion of known things, like scarves, into a painting which uses the vernacular of abstraction and does it with arms open, a refashioning of the formal possibilities of material and story.
Adam Simon navigates between the familiarity of abstract idioms and the familiarity of corporate logos. His work looks back to Bauhaus, where form, as design, is investigated as subject. The function of the logos that fill our vision and direct our thoughts on a daily basis is here frozen, the perfected image as perfect form, as subject.
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