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  Mostly Monochrome
January 7 - February 6, 2010
 

Mostly Monochrome investigates the possibilities that result when artists work in the seemingly reductive manner of limiting their palette to a single color or a tight tonal range. This reductivism focuses attention on formal aspects such as shape, edge, proportion, and a spectrum of surface textures. Several works in the exhibition blur the distinction between painting and sculpture, such as Peter Weber’s work in woven red felt, where the simplicity of the single color emphasizes the undulate folds of the structure and material texture, and in Bill Thompson's shadow-induced alternating tones on buoyant and playful zig-zaging dimensional forms. In Li Trincere's trapezoidal and cruciate paintings, the simple forms are enhanced by the rich and glossy surfaces achieved by the application of multiple coats of acrylic or sparkly enamel paint; meanwhile Matthew Deleget's humorously nihilistic single-color paintings are nearly destroyed by hammering out the centers, leaving an irregular maw of colored shards and the wall surface behind the remains. A grouping of unique mid-century Scandinavian ceramic vessels in tonal ranges of blue by Berndt Friberg for the Swedish company Gustavsberg and pieces from the Danish company Palshus draw attention to the elegant simplicity of their forms and the subtle variations in their glazes. Ursula Morley Price uses a monochromatic brown matte glaze on her roughly textured ceramic sculptures, enhancing the play of light and shadow on the paper-thin flanges enrobing her vessels. Daniel Levine's meditative works in white are perhaps the most reductive in the exhibition. Carefully, over several years, textured and precise fields of a single color are applied, yielding surfaces that change in response to varying lighting and movement of the viewer. David Mann creates a lava-like abstract landscape of deep red tones in his painting, with surfaces further modulated by layered dispersions and elliptical shapes. Karen Gunderson's intense black painting of ocean waves is built from directional brushstrokes of varying width, and uses the light passing across the surface to reveal her forms. Carrie Yamaoka's interest in material process is explored in sensuously glossy and reflective paintings made from resin embedded with Mylar and pigments which glimmer in changing light and at times feel weightless. James Lecce is similarly interested in sumptuous surface textures, but also the rhythmic play of tight tonalities in his layered, poured paintings of acrylic polymer emulsion enhanced with metallic swaths of color.
 
 
Matthew Deleget
They Don't Love You, Like I Love You, 2009
Iridescent silver acrylic paint on four panels, hit with a hammer
16 x 60 inches installed

Berndt Friberg and Palshus
Eleven unique stoneware ceramic vessels
Circa 1950s-1960s
Dimensions variable

Karen Gunderson
Churning Sea, A Moment Later, 2009
Oil on board
24 x 24 inches
 
James Lecce
Meltaway, 2008
Acrylic polymer emulsion on panel
42 x 24 inches

Daniel Levine
Under the Influence, 2004-06
Oil on cotton stretched over panel
12 x 11 7/8 inches

Daniel Levine
Untitled #9, 2002-05
Oil on cotton stretched over panel
16 x 15 3/4 inches
 
David Mann
Lagoon, 2009
Acrylic and oil on canvas stretched over board
48 3/4 x 58 inches

Ursula Morley Price
Brown Bottle Form, 2008
Stoneware
11 1/2 inches high, 8 1/2 inches wide

Ursula Morley Price
Black/Brown Flange Bowl Form, 2008
Stoneware
6 inches high, 10 inches diameter
 
Bill Thompson
KK2, 2007
Acrylic urethane on polyurethane block
11 1/4 x 9 x 4 inches

Bill Thompson
KK3, 2007
Acrylic urethane on epoxy block
10 5/8 x 8 1/2 x 4 inches

Li Trincere
Redcross, 2007-08
Enamel on canvas
18 x 18 inches
 
Li Trincere
Montauk 1, 2009
Acrylic on canvas
36 x 36 inches

Peter Weber
Folded Cross FR6, 2007
Felt
20 x 20 inches

Carrie Yamaoka
14.125 by 11.625 (Phosphorescent), 2009
Flexible urethane resin, mylar, and mixed media
14 1/8 x 11 5/8 inches
 
Carrie Yamaoka
14.125 by 11.625 (#7), 2009
Flexible urethane resin, mylar, and mixed media
14 1/8 x 11 5/8 inches

Carrie Yamaoka
14.125 by 11.625 (Interference Blue #1), 2009
Flexible urethane resin, mylar, and mixed media
14 1/8 x 11 5/8 inches
 
Mostly Monochrome
Installation view

Mostly Monochrome
Installation view

Mostly Monochrome
Installation view
 
Mostly Monochrome
Installation view

Mostly Monochrome
Installation view

Mostly Monochrome
Installation view
 
Mostly Monochrome
Installation view
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