Lennon, Weinberg, Inc.
The exhibition presents new works by five abstract painters. Several use high-keyed colors, some use or refer to geometric forms, others concentrate on process and the properties of their materials. All have made distinctive, clean-lined abstract works, immediately recognizeble and unforgettable.
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Kenneth Noland (b. 1924, Asheville, North Caroline) has turned again to the center-weighted "target" form. The matte, subtly iridescent bands and fields of color permeate the canvas, bounded sometimes by pencilled lines. Edges are crisp or smoky, colors contrast sharply or barely shift in tone and hue.
Five years ago, Valerie Jaudon (b. 1945) Greenville, Mississippi) changed her process and materials. She layered complex ornamental patterns over poured grounds of oil and alkyd and achieved rich depths and shiny surfaces. Early on, Jaudon limited herself to black, white and grey; in the new paintings, colored fields smoulder beneath crisp motifs painted in the blackest black.
Bruno Rousselot (b. 1957, Joinville-en-Vallage, France) uses the sturdy geometry of the rectangle in the series he calls Concorde, ongoing since 1995. The strategic placement of rectangles initiates an active dialogue between figure and ground, furthered by the interaction of the carefully mixed colors. Rousselot applies acrylic paint with rollers and taped edges for an understated and succinct surface.
In each painting, Gwen Hardie (b. 1962, Fife, Scotland) works a single color through a range of tonality from light to dark. She establishes the appearance of a topographical surface described by the passage of light and shadow across its contours. Hardie vigorously and skillfully blends oil paint on the canvas until she has eliminated nearly every trace of her hand and unified the surface to a silky matte expanse.
The paintings of Rachel Howard (b. 1969, County Durham, England) are seemingly effortless pours of glossy household paint over canvas. Colors are straight from the can, familiar yet daring in combinations of three or four per painting. Almost sculptural in their pristine physicality, the paintings achieve a decorative intensity with an economy of means and strength of purpose.
Please contact the gallery for additional information.