55 Orchard Street, New York, New York 10002 212 989 5467 fax 212 989 5642
55 Orchard Street, New York, New York 10002 212 989 5467 fax 212 989 5642 |
Color as Structure |
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Color as Structure examines the ways artists use deliberate color choices to create sculptural or architectonic space in their work, as well as exploring aspects of weight, movement, rhythm, light and optical vibration. Some artists employ systems to determine color choice, as in Paul Corio’s use of winning thoroughbreds from New York racetracks to determine the position of the colors within each pinwheel in his painting, or Richard Garrison’s dissection and restructuring of color schemes from newspaper circulars. Optical investigations through color selection are found in linear and patterned works by Rob de Oude and Mel Bernstine. Structured space and movement through color is found in complex linear paintings by Jason Karolak and translucent, layered drawings in acrylic polymers by Maureen McQuillan. Drawing from her Roman childhood, Holly Miller references Italian design in her color choices in paintings of monochrome, irregular geometric shapes with edges articulated in thread, set against white fields. Alain Biltereyst’s simple geometric motifs and colors draw from graphic design, signage and logos found in the commercial and industrial environment. Painting/sculpture hybrids range from Martha Clippinger’s playful and eccentrically-shaped painted works to Richard Roths’s illusionistic, geometric patterns playing across the surfaces of rectangular boxes. In Cordy Ryman’s dimensional work, diagonally-arranged white wood planks with sides painted in tonal variants of green and blue give off glowing haloes and create colorful rhythms. Deborah Zlotsky uses color to create dimensional space and weight in her painted arrangements of irregular geometric forms, while Kate Shepherd references the monumentality of sculptural space through the simplest means in her elegant arrangements of cut paper in contrasting colors. Elise Ferguson employs layers of pigmented plaster with patterned color to investigate interior space, while Don Voisine alternates rectangular zones of matte and glossy blacks to create spatial illusion, depth and movement. Richard Caldicott’s photograms explore sculptural geometries and rhythmic patterns by mounting single-color cut paper negatives side-by-side with their unique black-and-white prints. | |||||||
 Paul Corio Megalicious, 2011 Acrylic on canvas 60 x 48 inches |
 Paul Corio Funny Money, 2013 Acrylic on canvas 40 x 28 inches |
 Elise Ferguson NW, bold, 2014 Pigmented plaster on mdf 24 x 24 inches |
 Holly Miller Bend #7, 2014 Acrylic and thread on canvas 12 x 12 inches |
 Holly Miller Bend #10, 2014 Acrylic and thread on canvas 36 x 36 inches |
 Rob de Oude Cloud Computing /4, 2014 Oil on canvas 32 x 32 inches |
 Don Voisine Time Piece, 2014 Oil on wood panel 30 x 24 inches |
 Don Voisine Aeriel, 2007 Oil on wood panel 14 x 14 inches |
 Deborah Zlotsky Indoor Voice, 2013 Oil on canvas 20 x 16 inches |
 Deborah Zlotsky Starting Now, 2013 Oil on canvas 18 x 24 inches |
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55 Orchard Street, New York, New York 10002 212 989 5467 fax 212 989 5642
email info@mckenziefineart.com |
