Pier Wright & Mandolyn Wilson Rosen
March 21 - April 27, 2014
Imogen Holloway Gallery is pleased to present new works by Pier Wright and Mandolyn Wilson Rosen. Both artists use fluid acrylic brushstrokes to push, pull and manipulate the limitations of the picture plane, with a particular penchant for cramped, crowded, and compressed space. Ms. Rosen puzzle-fits chunky shapes into slightly awkward and spatially curious compositions. She paints with a loose hand, some areas built up to a crusty impasto, others left a whisper-thin wash, the patterned forms shoved right up against the canvas' edge. "Pattern in my recent work comes from the textiles that surround me; blankets, kid's clothes, and countertops. They're both convenient and have personal meaning for me." Mr. Wright builds up condensed, color-packed paintings by swiping acrylic paint onto Duralar (Mylar's sturdier cousin) in Easter pastels, fleshy tones, and grassy greens. These exuberant marks are then cut out and reassembled in layers with no panel or rigid support, leaving Mr. Wright free to allow the end of a shape to dangle, jut out or stick up, just barely maintaining the traditional structure of a rectangular canvas.
The work in this show is dizzying, loose and unpredictable, and although Mr. Wright and Ms. Rosen differ greatly in how they challenge the canvas' four walls, what they do share is an urge for spatial challenges and a delight in paint's possibilities.
March 21 - April 27, 2014
Imogen Holloway Gallery is pleased to present new works by Pier Wright and Mandolyn Wilson Rosen. Both artists use fluid acrylic brushstrokes to push, pull and manipulate the limitations of the picture plane, with a particular penchant for cramped, crowded, and compressed space. Ms. Rosen puzzle-fits chunky shapes into slightly awkward and spatially curious compositions. She paints with a loose hand, some areas built up to a crusty impasto, others left a whisper-thin wash, the patterned forms shoved right up against the canvas' edge. "Pattern in my recent work comes from the textiles that surround me; blankets, kid's clothes, and countertops. They're both convenient and have personal meaning for me." Mr. Wright builds up condensed, color-packed paintings by swiping acrylic paint onto Duralar (Mylar's sturdier cousin) in Easter pastels, fleshy tones, and grassy greens. These exuberant marks are then cut out and reassembled in layers with no panel or rigid support, leaving Mr. Wright free to allow the end of a shape to dangle, jut out or stick up, just barely maintaining the traditional structure of a rectangular canvas.
The work in this show is dizzying, loose and unpredictable, and although Mr. Wright and Ms. Rosen differ greatly in how they challenge the canvas' four walls, what they do share is an urge for spatial challenges and a delight in paint's possibilities.