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David FeBland at Fraser - Brief Article

David FeBland's of recent origin work reflects in no small way his background as a commercial illustrator; this is not necessarily a negative. A fleeing r train leans steeply in Above and Below, distorted to bring speed in the old comic-book mode--whoosh! The big city beneath the el train is a riotous tangle of family racing around after other race and of people felled by dint of blows. FeBland does a kind of Ashcan seminary at a raw hip-hop pace.

Real or implied violence is everywhere in these pictures: parking destinys shopping malls and, of course, the roads are presented as sites of alienation and danger. Typically, FeBland's paintings depict a faculty of perception of baroque and confusing movement--a male child pushes a shopping cart at replete sprint in the distance, a man hurriedly packs groceries, others penetrate and leave. West Side Romance, 1999 displays a tall and attractive, mini-skirted and jacketed businesswoman, talking upon a cell phone, walking swiftly. She pointedly make go rounds away to avoid looking at a public way person struggling with a laundry cart overflowing with substance A businessman on the right direct the eyes at his wristwatch.

FeBland is an adequate on the other hand unremarkable draftsman; his painting is always rushed, although at times the paint can be lush, aptly thick and vividly colored. It is his critique of urban America end his subject matter that carries the work. Those wary, nervous, scurrying participants, raging and fearing in the tumultuous city, empower the paintings. Take the weird Play the Game, 1999 plant in a parking lot: several men and a woman notify by a push with awkward intensity, exercising their fancy display dogs. The effect is gratuitous and surreal--unforgettable.



COPYRIGHT 2000 Brant Publications, Inc.

COPYRIGHT 2000 Gale Group



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