55 Orchard Street, New York, New York 10001 212 989 5467 fax 212 989 5642
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  Tom Leaver
March 22 - April 28, 2013
 

 
Tom Leaver has long used the vehicle of abstracted landscape to explore painterly processes. With each body of work there has been a distinct focus in palette and compositional structure. In these new paintings, Leaverís color choices are more varied, brighter and less monochromatic than in the past. The pictorial space has become fuller and deeper, with distinct horizon lines, meandering bodies of water and trees framing his vistas. However, none of the scenes depicted are based on actual places or even memories of specific topographies. Photographs or sketches are not used, nor does the work make any genuine reference to 19th century predecessors. Instead, the paintings are created gradually in an intuitive and meditative manner as cumulative expressions of the artistís emotional and spiritual state of mind. Leaver paints almost entirely without brushes, creating the works with gloved hands through sweeps of his palm and dabs of his fingertips. Leaver builds up his paintings over time, and close viewing reveals a varied and layered surface with flickering marks, sensuous strokes and scumbles of paint. A brush is used only to create dispersions with turpentine, and the resulting drips and runs often remain in the final image. Viewed from afar they coalesce into a recognizable but imaginary soft-focus scene which summons the ineffable quality of memory.
 
In spite of the abstract nature of the process, he has given some of the works titles that reference geographic place names. This playful act of obfuscation adds to the ambivalence of whether his paintings are abstractions of actual landscapes or products of the artistís imagination. Other titles eschew place names in favor of ambiguous phrases like How Unfortunate, Do You Recall, or, in a series of small paintings executed on wood panels, Names and Places I Have Never Been. Leaver also cites the influence of sound artist Alva Noto, who uses sampled clicks and glitches as building blocks, reshaping the abstracted sound elements into rhythmic structures, in the same manner that Leaverís mark-making method transforms his vocabulary of abstract elements into recognizable imagery.
 
 
Do You Recall, 2012
Oil on canvas
64 x 54 inches

How Unfortunate, 2013
Oil on canvas
52 x 40 inches

There, 2013
Oil on canvas
59 x 47 inches
 
Ceylon, 2013
Oil on canvas
40 x 30 inches

Bombay, 2013
Oil on canvas
40 x 30 inches

Siam, 2013
Oil on canvas
40 x 30 inches
 
Sins of the Father I, 2013
Oil on panel
12 x 9 inches

Sins of the Father II, 2013
Oil on panel
12 x 9 inches

Names and Places I
Have Never Been I, 2013
Oil on panel
10 x 8 inches
 
Names and Places I
Have Never Been II, 2013
Oil on panel
10 x 8 inches

Names and Places I
Have Never Been III, 2013
Oil on panel
10 x 8 inches

Names and Places I
Have Never Been IV, 2013
Oil on panel
10 x 8 inches
 
Names and Places I
Have Never Been V, 2013
Oil on panel
10 x 8 inches

Renaming I, 2013
Oil on panel
10 x 8 inches

Renaming II, 2013
Oil on panel
10 x 8 inches
 
Renaming III, 2013
Oil on panel
10 x 8 inches

In Passing, 2013
Oil on panel
10 x 8 inches

Waiting, 2013
Oil on panel
10 x 8 inches
 
Sanguine, 2013
Oil on panel
10 x 8 inches
 
Installation view

Installation view

Installation view
 
Installation view

Installation view

Installation view
 
Installation view

Installation view

Installation view
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55 Orchard, New York, New York 10002 212 989 5467 fax 212 989 5642
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