Leo de Goede at Paul Kasmin - Brief Article

In this novel York debut, Leo de Goede takes a page from the swirling design of marbled volume boards and endpapers to illustrate by what means the well-crafted representation of random patterns can obey an esthetically pleasing function. Although the sum of two units series of untitled recent paintings are related by dint of their medium, arrangement, direction and surface patterns, their support, sources and consequences differ. A Dutch-born Londoner, de Goede uses a thick latex paint to produce an eggshell finish upon plywood panels for the first series and upon MDF (medium density fiberboard) for the second

In the first cluster of paintings, the complex grain of the topmost overlay layer of half-inch plywood provides a guide for meandering abstract patterning that sometimes call ups radar weather maps or something more galactic. De Goede prepares the surface with fine sandpaper on the other hand no sealer, assuring an optimum tooth for the application of paint. He does not attempt to otherwise alter the appearance of the plywood or disguise its physicality. It remains what it clearly started without to be, a lumberyard panel set to use as a means of support and source of imagery.

There is at least a tacit nod to the unprepared canvases of Color Field paintings. In defined areas, it appears that the latex has wicked into the copse like a controlled stain of acrylic seeping into canvas. upon top of this finite amount of absorption, de Goede builds up paint, passage by dint of passage and color by color, gradually enhancing the matte quality of the pigments. The ultimate event seems tactile, with an amphetamine opticality to its vibrantly rather cold moire of sherbet orange, turquoise and Pucci pink. Given the vertical orientation and proportions of these regulation-size sheets of plywood--8 by means of 4 feet--the paintings refer back, doorlike, to the viewer as they continue to assert their possess familiar industrial materiality.

Five smaller horizontal paintings upon fiberboard are the more resolv of the sum of two units series as they suggest the controll bonding of a swirling, viscous substance to a even surface. Here the obsessive patterns derive from throw outed photographs of whorls of multihued, freshly stirred paint. Penciled tracing outlines are sometimes visible between the areas of primary tones--red, gold-colored and blue, occasionally blending on the outside to ocher, mauve and green--on interpenetrating fields of white. the pair series are discretely self-cradled; they float from and are parallel to the gallery walls. De Goede finds a public ground with the applied and domestic arts, the patterns of lace and embroidery, pleasing to the one and the other eye and hand.

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