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Megan Lipke at 55 Mercer - Brief ArticleMegan Lipke mines the organic geometry of genetic and cellular forms to create compositions which simultaneously invite and thwart a figurative reading. A salmon-colored strip of paint along the top cutting side of Ever After (all works 1998) is partially overspreaded by dun-and-green camouflage; this "sky" flutters over an accumulation of box-like units which proposes a medieval walled city. Below this fairy-tale castle, color and paint move swiftly riot. Brushy strokes of magenta, fulvous and brown are punctuated through repeated shapes: red rainbow-like bands, variously colored grids and ladders. Dabs of pigment contrast with areas in which a dried brush has drawn out the color underneath. Possible Trajectories Based upon Past Trajectories also includes the repeated ladder motif--which recommends both stairways and the DNA molecule--over a primarily teal-green sod Clumps of pigment and visible brushstrokes activate the surface, as does the deliberate crazing of the paint, the spring of Lipke working over a still-wet surface. The top layer of paint has dried and contracted to form a wrinkled skin that enhances the organicism allude toed by the genetic forms. Judging by dint of this first solo show in novel York, Lipke seems to be looking at the cell-like and gridded shapes of Terry Winters's 1980 work; at her best she manages to translate this regularized organicism into a personal turn of expression of painting, but occasionally the concern to Winters is too direct. This is the case with Sleeper in which gridded, fishing-net-like passages are overlaid by means of repeated ovoids and a collection of disembodied eyelashes. The Way to win There, a standout painting in this exhibition, features a grass-green soil through which orange underpainting is still visible at points. Along the bottom of the canvas, an agglomeration of Gustonesque shapes and action s suggests a procession of chunky cars; a scarcely any marks indicate a prone figure, the unfortunate victim of this comical, cartoonish caravan. Here, Lipke eschews a thickly layered surface in favor of a relatively free from moisture and thinly painted plane. While this is a successful--even delightful--painting, a more compelling and distinctive approach is established by dint of the impacted surfaces, vital geometries and courageous coloration of the. other works. COPYRIGHT 1999 Brant Publications, Inc. At the peak of a debate above the memory and meaning of World War I, the ten-year anniversary of war mobilization in 1924 became the crucial point of tendency to meet for many of the social and political... WILMINGTON, NC -- SpecialtySoft Inc. has announced that its first SpecialtySoft Users Symposium will be held June 6 to 9 at the Shell Island Resort in Wrightsville Beach, NC The flat... Contextualizing penury Health and Physical Activity for Women A new study reported that less than 25 for cent of the female population in Canada participates in sufficient physical acti... PIANO Jon Kimura Parker Monday, March 29 Internationally acclaimed plot pianist Jon Kimura Parker has performed with major orchestras through every part of the world. A passion... Biolex Therapeutics of Pittsboro has acquired LemnaGene S.A., a privately held start-up biotechnology company in Lyon France, that is researching potential applications of the small, aquatic pla... After sum of two units days of sometimes emotional testimony, Salinas justice Jose Velasquez admitted that more [i]or[/i] less of his behavior on the bench had been improper and that he owed at least individual defendant an apology. ... Last October the Yale University Art Gallery, with support from the Yale Center for British Art, uncloseed "The Unmapped Body: 3 Black British Artists," exhibiting the work of Sutapa Biswas, Sonia B... |
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