A walk past the shaped paintings of Edgar Diehl and Henriëtte van ‘t Hoog reveals their bent and angled surfaces. The same repeated colors in Diehl’s Jupiter Landung IV take on different shadings as light reflects across the folded aluminum support. With either concave or convex surfaces, van ‘t Hoog’s cubic forms collapse perspective, creating a contradiction between perception and form. Debra Ramsay interrupts the straight linearity of her drawing The effects of a fold on a Pink line by folding its vellum support, creating diagonal facets and shadows. At first glance Richard Bottwin’s Yellow Façade appears solid and even architectonic; observed from different angles, the planes shift, reshaping the object in the viewer’s eye. Kevin Finklea’s elegantly reductive wood constructions explore ideas of color and balance through the relationship of paint to structure. He often situates his works at varying heights on the wall, presenting unconventional views. Patricia Zarate’s Sweet Spot is specifically oriented to an interior corner. Its repeated pattern of triangles painted on wood at right angles flattens out in the eye of the viewer, becoming a vertical stack of diamonds. With the only freestanding sculptures in the exhibition, Gay Outlaw undermines cubic solidity by perforating and dematerializing her forms. Camo Cube (Blue) is a hollow perforated cube whose surface is covered with a silkscreened pattern derived from photographs of the holes. This hybridization converts three-dimensional spaces into two-dimensional images, dissolving the barrier between dimensions. A similar paradox occurs in Untitled (Stuffed Cube), in which a cube is filled with hexagonal elements made of hollow wood and solid ceramic. Several works in Doppler Shift occupy the region between two- and three-dimensional space. Debra Ramsay’s cut Dura-Lar pieces with inked edges generate a nebulous glow that confounds the eye. In Stations of the Cube #4, Steven Baris layers painted forms on Plexiglas panels that lean at an angle against the wall. A hidden underpainting is visible only as a red hue radiating from the edges of the forms, creating the illusion that they float in space. Similarly, van ‘t Hoog’s Triangle I also appears to float in front of the wall, with reflected color from the back of the piece activating the space behind the object.
top: Gay Outlaw, Camo Cube (Blue) (detail), 2006 bottom: Steven Baris, Stations of the Cube #4 (detail), 2014
Published on Sep 22, 2014
Published on Sep 22, 2014
Twenty seven artists from the US and Europe use geometry and color to explore the illusion of difference between two- and three-dimensional...