Intriguing things are happening at my future home in San Francisco, George Lawson's bipartite gallery whose separate rooms for painting and paper kinda remind me of the adage about mullets: Business in the Front, Party in the Back.
Masaru Kurose seems to be pulling the transparent support trick to interesting effect. Maybe I'm more sympathetic to Polke's transparency because I also acquire imagery, rather than generate it spontaneously as it appears Kurose does. Sadly I've only seen the work of both artists through .jpegs and prints. Regardless, I'm glad to see another painter questioning at least a few aspects of the paradigm of the support.
Nancy Haynes works a transparent/translucent color field, working broad gradations and slides that, from the small jpegs I've seen, suggest the use of a card or squeegee-like tool. Some are apparently framed in a flat color, hinting at an illusionistic depth without really providing it.
Alan Ebnother is into monochrome impasto, a place I find hard to resist even as I acknowledge its pitfalls.
I'd show you the images and text from George's email but it was formatted 800+ pixels wide, and wouldn't copy/paste into this narrow blogpost without an hour of re-formatting work. Sorry, George!
George Lawson Gallery
49 Geary 2nd Flr
San Francisco, CA 94108
4/15/2010
Masaru Kurose, Nancy Haynes and Alan Ebnother, at George Lawson Gallery, San Francisco, May 6 - 29
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