Henry Chapman
The now untitled piece, as it stands in front of the
studio, looks as if a moment of self-awareness took a
toll on the organic nature of the mark. The space
within the painting has been modify countless of times
since its beginning stage; as it stands now the
texture of the piece, its viscosity and its color make
a harmonious play with the various planes in the
composition. What I notice to be a visual problem is
the top side of the purple-gray plane on the left. The
edge, in this painting being one of the most important
qualities, has been modified in a way unprecedented to
any other mark. The patterns of the wavy brushstrokes,
that are neither sharp nor translucent, have an
attitude in the painting that appears foreign. The
lack of conviction in the sharpness of the line fails
to make the space move or recede, while the more
organic and natural lines of the right contradict its
form.
Whether it is a matter of opinion, I suggest a close
consideration of the purple-gray form. There is a
constant through out the piece and the playfully
fabricated edge is not outrageous enough to make an
impact or modest enough to harmonize.
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