Elrod advances an argument that is committed to
the formal values of painting while inserting an unsettling psychological undertow to his imagery.
Not exact matches
In the same way that Albers's
paintings teach us that opposites
of value and hue interact and intensify through close proximity, here the
formal geometries
of art and architecture amplify their counterparts in a display that would make any Bauhausian proud.
To me, it would have meant that — this is pre this new rage in buying and selling
paintings — that, I think, that the
formal values, like light, space, color, all those things that a
painting is made up
of, as well as the Jacob going up the ladder or Venus on the half shell or something (chuckles) would be what interested the painter.
The high achievement
of his
paintings lies in the nature
of their seeming simplicity, a simplicity which belies their complexity and which arrives at clarifying
painting's
formal values of line, form, and color.
Like the so - called Bay Area Figuration
of Richard Diebenkorn and Elmer Bischoff, Sheehan's pictures discover abstract
formal values in views
painted from observation.
The Studio School was an interesting augmentation because it was a direct transmission
of the
values of Hans Hoffman and a kind
of perceptual
painting underwritten by
formal abstraction, as it rolled up through Cezanne, Cubism and the Studio School's version
of Abstract Expressionism.
Just as the relationships
of pitch and duration can express emotion in music, the
formal relationships
of hue,
value, shape, and placement can collect to create meaning in abstract
painting.