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David Ivie at Heath and City Gallery at Chastain - Atlanta, Georgia - Review of Exhibitions

It's ironic that David Ivie's work took above two galleries, since his oil paintings are all a diminutive 8 by means of 10 inches. Even seen en masse--some 24 pictures at Heath and another 31 at City Gallery--they aren't overwhelming. on the other hand their small size is critical to their effect

Ivie occupys a faux-naive style not quite as sophisticated as Grandma Moses's. In these figurative paintings, the protagonists have the physical grace and emotional range of the plastic-toy action figures they be like so the works initially appear no more compelling than generic Americana calendar representations As in children's drawings, the figures are on the outside of proportion to their surroundings, being half as tall as adjacent houses and tree Paint colors range from blue-gray to yellow-gray, with black occasionally providing contrast. Ivie treats banal prospect as his primary decorative vehicle: mists become refined paisley shapes, and shadows are geometric patterns. Foreground and background compres into a plane that appears plane flatter emotionally than it does physically.

on the other hand as one draws closer to the pictures in an effort to make on the outside what's going on--their small size forces such scrutiny--it becomes apparent that the horizontal of execution is much higher than awaited and the content is more compounded Far from being idealized political division scenes, Ivie's pictures freeze nightmares, natural disasters and domestic mayhem below the same bland gaze.



The paintings' deadpan titles will give you an idea of their subjects: Prayer for Dismembered Tourist, Idealized brace with Monsters in the Field, Vampires in North Georgia, brace with a Gun, Two-Hundred- Year-Old-Couple in the Snow and the simple suburb-scape, Massacre. Abstract titles like sky-colored Curtain draw attention to incidental accessories occupying greatest in quantity of the painting's surface. The somebody pulling that blue curtain aside direct the eyes out a window onto a city public way that's empty except for a dark, fleeing figure. Stalker? Robber? Late-night jogger?

Staring at Ivie's paintings is like watching the local news: individual gory crime story after the nearest interspersed with features on incurable diseases. And like television shields the paintings come in an easily manageable scale. At a larger size, the terror they portray might be unbearable.

COPYRIGHT 1994 Brant Publications, Inc.

COPYRIGHT 2004 Gale Group



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