Juan Uslé divides his time between New York City and Saro, Spain, fundamentally dividing his life and practice between the countryside and the city. Knowing this fact really tempts one to adopt a particular interpretation strategy when viewing his small abstract paintings at L.A. Louver. On one hand, the works' have the vibrant buzzing energy and architectural structure of high rises and traffic. On the other hand, however, they mimic passages of open spaces, wind on fields of grain, and the soft colors of dispersed rural light. All told, they are enigmatic, beautiful little works.
Uslé's compatriot in spirit and painting is probably Richard Diebenkorn, who worked less than 2 miles from the spot where Uslé's work is now hanging. Diebenkorn maintained a tension between natural observation and theories of abstraction in way that tempted overt interpretation but resisted it at every turn.
Usle's paintings are the same - they are neither wispy urban systems nor a sort of rural dreaming of city. His range of effects is dazzling, employing a feathery touch for unexpected results.
- Ed Schad
(Images top-bottom: Juan Uslé, Sueño de Salomón 1, 2008, Vinyl, dispersion , dry prigment on canvas; Juan Uslé, The warrior, 2008, Vinyl, dispersion, dry pigment on canvas; Juan Uslé, Mirando hacia afuera, 2007-08, Vinyl, dispersion, dry pigment on canvas. All images courtesy of LA Louver , Venice, CA)
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