Bigindicator

Un-titled (Abstraction)

Event  |  Reviews  |  Comments
Davisj_youcan_tstoppaddling07
You Can't Stop Paddling , 2007 Acrylic on Vinyl, Stretched Panel 56 X 68"
Demosp_untitled3
Untitiled 3, 2010 Acrylic on Polyester 53 X 45"
Kanedas_flexible_bias
Flexible Bias , 2010 Oil on Linen 64 X 54"
Everyday_activity
Everyday Activity, 2008 Acrylic, Black Gesso, Ink, Graphite & Collage on Canvas Over Panel 30 X 30"
Penkalam_incomprehensible
Incomprehensible, 2009 Acrylic on Canvas Stretched Panel 60 X 60"
Weinerben_corn_syrup
High Fructose Corn Syrup , 2009 Oil on Canvas 32 X 48"
Un-titled (Abstraction)

544 South Guadalupe Street
Santa Fe, NM 87501
July 20th, 2010 - August 28th, 2010
Opening: July 24th, 2010 5:00 PM - 8:00 PM

QUICK FACTS
WEBSITE:  
http://www.davidrichardgallery.com
NEIGHBORHOOD:  
Guadalupe, Railyard
EMAIL:  
r@davidrichardgallery.com
PHONE:  
505-983-9555
OPEN HOURS:  
Tuesday - Saturday, 10:00 a.m. - 5:00 p.m.
TAGS:  
sculpture

DESCRIPTION

David Richard Contemporary is pleased to present Un-Titled (Abstraction), an exhibition of paintings by Jay Davis, Peter Demos, Shirley Kaneda, Clarence Morgan, Matthew Penkala and Ben Weiner that explores abstraction through optical illusions created via two trajectories. The first exploits photographic properties, while the second is focused on form and the illusions provided by color and surface texture.

 

The work of Davis, Penkala and Weiner exploits aspects of photography to create unique abstractions. Davis’ paintings contain representational elements that are nearly photographic in detail, but abstracted as they are collaged in surreal, dream-like settings with psychedelic overlays, taking the viewer on a journey that requires active participation to construct a narrative. Penkala investigates the dynamic potential of static objects that are digitally derived from his camera and presented on the canvas with dispersed particles of paint to imitate pixels and bits of information. Weiner’s paintings are of beauty and food products photographed at such extreme close range to abstract them beyond the point of recognition.

 

Kaneda, Morgan and Demos explore abstraction through form, color and surface texture. Kaneda’s paintings are fluid and dynamic, creating vibrations through overlapping undulating forms and gradations of color like a light show at a concert from the late 1960s. Morgan moves between painting and drawing, utilizing form, line, repetition and complex systems to create multi-faceted abstractions. Demos creates optical effects with the greatest economy of means as he manipulates rectangular panels with a simple palette of black, white and grey, making them move into or out of the wall based largely upon their matte or glossy surface quality.