I
do very much love James Isherwood’s
paintings, each one a weird little abstract narrative about the lives that
inhabit large, modernist glass buildings with direct access to some unfettered
coastline. His paintings are almost always based on a palate that can best be
described as night or the moments just before or after night falls on the
houses that exist in a perpetually dizzying array of texture and semi
abstractions. The paintings give the view of an outsider pondering their
contents or, like most of us, having a hard time imagining what it would take
to find ourselves inside such stylish luxury. Isherwood’s works find a good
match in David Collins’s abstract
paintings, where heavy use of horizontal lines mirror the every present homes
in Isherwood’s paintings, like building materials in a tornado or blueprints
gone awry. As enjoyable as the paintings are, it is enjoyable to see them in the
space at Susan Ely with its exposed brick, fire place and hardwood floors in a
ridiculously affluent residential neighborhood. Does add an extra layer of
meaning especially to Isherwood’s already loaded architectural paintings.
Through
Apr. 15th
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