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Composition and Intention October 11 through November 15 by Megan Kelley


t the heart of Music City lies a studio practice whose precise and sensitive sound translates into the potential for intimate experience. It’s a practice that crosses genres and reflects in an appreciation for these moments in all forms, including the uniquely visual constructs of abstract painting and the personal connection to their reflective power.

Robert Treat, Two Square #3, 2014, Encaustic on panel, 16” x 32”

As celebration of this multisensory experience, Cumberland Gallery’s Abstract Works pulls together new and mature bodies of works by Caio Fonseca, Raphaëlle Goethals, and Robert Treat.

CAIO FONSECA divides his time between New York and Pietrasanta, Italy, and divides his work between his bold, graphic, visual practice and his classical piano training. His deep ties to music are easily evident in the titles of his work, but also establish themselves in the visual structure of his works and their unapologetic rhythms. In Fonseca’s gouache on paper and his etching works, it’s a visual balance whose performance is dynamic, vocal, and charming, sending large curves and fields across the viewing plane in minimalist shapes. Bright punches of color reveal themselves in small lines and strokes, forming counterpoints of visual activity anchored to the compositional structure of his larger worked areas.

Raphaëlle Goethals, Howl, 2013, Encaustic on panel, 44” x 48”

This visual element of small, unexpected moments echoes in the very different atmosphere of RAPHAËLLE GOETHALS, who hails from New Mexico. Goethals layers wax and resin to create a luminous and ambiguous visual density whose openness is gridded with a matrix of colored dots. As if positioning players on the canvas, her inclusion of these small, intentional notations provides subtle, compelling parameters for the viewer and artist to engage the space.

64 | October 2014

October 2014 Nashville Arts Magazine  
October 2014 Nashville Arts Magazine