Sally Egbert at Fotouhi Cramer - East Hampton, New York - Review of Exhibitions - Brief Article

Sally Egbert's oil paintings are as hypnotic as aquariums. They engage the viewer in sum of two units ways. First is a keenly sympathetic use of color. In Honey (72 through 46 inches), one of the sum of two units largest paintings in the display the phrasing is fanciful and light--her color is dreaming, bordering upon the iridescent. Heaving leaves of marigold/mustard, bright black and a yellowed mint work with a two of darker enclaves--big, purple-gray vertical sections which earth the piece like castles in the tank.

A next to the first element that makes these abstractions pass is a quality of watery jostling. The painter teases us with a deftnes that fleetingly dangles variegated tunnel shapes of color, twisting before our organ of visions A few scrawls of crayon beef up her painted marks, accenting the top and lower extreme point of the funnel forms. Big tornadoes, here they draw near The feeling is of reaching. exult the other big canvas, is made up of darker hues-blue and purple blue-black and a watery gray drip, nicked with a lengthy black wriggling cross of paint upon the right third. It moves an awkward intimacy. The lowness of spirits of Crow's color seems to flatten without the surface.

There were seven paintings in the display In Sea Breeze, one of the small singles (34 by 28 inches) color inundations in from the top in discrete stalactites of of high temperature orange and green. Egbert articulates a different fantasy space in each of her paintings, as if each canvas has chosen to explore a feeling, a chemical, at its hold special speed, its own way of introducing itself. Using color, she abstracts motion. Egbert's chief relate to seems to be pinpointing distinctions--to name the instant in color and space.

COPYRIGHT 1996 Brant Publications, Inc.

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