Stanford Kay, My Back Pages (The Birth and Death of Pictorial Space)
Two of Iannarelli's plastic forms on the left with Barclay's Twillingate, Newfoundland on the right.
On left, Barclay's Storm on the Barrens, with Kay's Untitled, top right and Iannarelli's Untitled, below -
another color coordinated grouping.
In what could be a stroke of conceptual brilliance, Colin Barclay has reprised his 2004 (or '05) Van Brunt gallery exhibit on a slightly diminutive scale. Of course, I could be way off base here and reading more into this than there really is.
Stanford Kay, Mysteries of the Universe, on left, & two Untitled works by Peter Iannarelli.
Stanford Kay has been tweaking the shelved book motif that underpins his abstract works in recent years. I have found each iteration has pushed the language forward. This evolution continues on a couple of fronts in this show; both of them potentially interesting, although I prefer the smaller works; I find them to be are more brutal and direct statments in paint.
Peter Iannarelli, Untitled
Iannarelli's Untitled sculpture with Kay's The Collector in the background.
This "pedestal" sculpture of Peter's steals the show. It more fully embodies what Peter is interested in than the plastic cutlery pieces. As with much of his work, this piece incorporates a degree of gravity defied. Fortunately, Peter manages to escapes the trap of making this "magical" aspect from being the focus of the works; it's just another element, which along with the more tangible components work to support a broader aesthetic and philosophy.
Melissa Tatge's confluence of boot and skirt patterns was the highlight of opening night.