 |
| Self Portrait Eating a Hostess Cupcake, oil on linen |
We enjoyed a mini Beacon, NY reunion at the opening of Lee Price's exhibit, Cake, at Evoke Contemporary in Santa Fe on Friday night. We briefly said hi to Lee, and caught up for a while Fritz, Lee's husband, and ran into Mei Ying So, owner of Artisan Wine Shop who came out West for the opening. I spent a month in 2011 imposing on the hospitality of the Artisan Wine Shop and Beacon Pilates working through my ]twenty-six Paces[ project for the Windows On Main St. exhibit that year.
The works Lee is exhibiting here are suffused with rich patterns, both those of textiles, and those of living, represented by the symmetrical place settings of prepared tables. Those temporal patterns of the tabletop remain stolid, even as their elements are pushed and pulled by the indulgences they play host to.
There are two basic viewpoints presented in the works here. The viewer standing in front, in close proximity looking directly at Lee as she consume her emotively frosted confections, and the overhead, "god's view" of table tops populated by the artist alone, her with companions, or simply by the leavings of the subjects after they've pushed away from their places.
Looking over the exhibition thumbnails on the Evoke website just now, the repeated central circle of table tops festooned with the signs of communion, my mind goes to Malevich, and more broadly, the use of the circle in Russian Constructivism.
 |
| Spring, oil on linen |
This is a stretch, but the mind does what it does.
The presence of the circle in Malevich's work is a more rarified punctuation to the straight edged, corner wielding forms that predominate his works.
 |
| Winter, oil on linen |
 |
| Kasimir Malevich, Black Circle (motive 1915), 1924 |
 |
| Outside Evoke - A poster image of Summer |
 |
| Kasimir Malevich, Mystic Suprematism (Red Cross on Black Circle), 1920-1922 |
 |
| Ali's Meal, oil on linen |
No comments:
Post a Comment