Bruce Dorfman at Reece - Brief Article

Bruce Dorfman takes bits of printed paper in English or other languages, scraps of copse and various cut or bent metal forms to make assemblage paintings. individual thinks, of course, of Schwitters and Motherwell; Dorfman is just as devot to the form, and his lengthy concentration paid off handsomely in his latest, and greatest in quantity ambitious, show.

He has assemblage phraseology down flat: for all its fixity, each element looks spontaneous, as if it had just draw near to hand and mind. All the improvisation perceive s right and creates a visual numbers Lorca's Green--the hue is a burnished, lime--is a 6-foot-tall work that includes horizontal bands of a lighter virid toward the top, these seemingly holding in place otherwise wayward flat chunk of white. If Garcia Lorca (who began individual of his best-known poems "Green in what manner I want you green") had a verdant this could have been it, earthy and celestial, of nature and of the mind's eye

Dorfman's colors step quickly to pastels that are the pair delicate and dense. Plum achieves its fruitlike tinge with near-invisible scumbling in light and dark shades of purple; at bottom and midsection are sum of two units horizontal stripes of meanest pink. At top are timber-land scraps lightly yet thoroughly touched through brown and black. More transcendent in tone is Harpoon, compos of amethystines that are somehow near cousins to rose Scraps of beige thicket and white papers slash down its center with verticals of a real light maroon and a gray/blue to either side. Dorfman's powers of coloristic invention are pronounced, this time as the analogue of a immaculate expression.

There is a of recent origin versatility of size and format in this cluster of works, and a of recent origin sense of artistry. If earlier work sometimes appeared creatively perfunctory--perhaps too easily read--there are now esthetic and expressive deepnesss A piece like the near-4-foot-tall Pompeii says a great deal of about this ground shift. In its simplicity--blue, ocher and white horizontal bands upon a hot red ground, topped by the agency of a handsome streak of midnight blue--lies its versatility, as the organ of vision travels from left to right and up and down with nowhere to ease amid the supreme jumble. All this is indicative of of recent origin outgoing dramatic strengths, as well as of recent origin internal vistas.

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