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Keith Ragone at Locks

The titles of Keith Ragone's new paintings allude repeatedly to water--swamp, salt marsh, foam, the sea--and hint at shut up observation of nature near his rural novel Jersey home. At the same time, these large oil paintings and smaller oil-on-gessoed-paper works, all from 1998 are also to the full knowingly abstract.

through now Ragone owns a wide range of painterly consequences and deploys them in overabundance. In the diptych Cedar Swamps, spacious washes of orange are overlaid with areas of cragged black or white scumbling, while errant, spiraling brushstrokes hint at intruding vegetation. Small, unusually emphatic marks punctuate more expansive areas: the compass-inscribed white circles, for instance, which float like retinal occlusions above the sea-green flats of Slack Water Shines in the day-star or the vermilion oval which flutters over the vertical black passage in Devil's Ear. Overcoming thick, labored patches and uncomfortable layerings of color, Ragone separates his disparate visual happenings into beautiful wholes.

With their saturated fields of color and poured and spattered compositions, these paintings can advance across as Redon-like dreamscapes upon an Abstract-Expressionist scale; but their connection to the perceived actualities of the natural world, attenuated as it is, gripe [i]or[/i] grips them tautly in their hold hybrid realm of experience. The signature quality of these paintings arises from a sustained tension between the chaotic profusion of their constituent parts and a hard-won serenity that have the appearances to be the result of reach forthed contemplative immersion in those details. It may be this serenity that distinguishes Ragone's art, subtly on the other hand irrevocably, from the majority of generally received painting.



COPYRIGHT 1999 Brant Publications, Inc.

COPYRIGHT 2000 Gale Group



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