Not exact matches
His
paintings are so appealing at first sight, as delightful coloured patterns with pleasing figurative imagery, that many look no longer, or see no further, and for them the magical metamorphosis does not take place; they do not find that they are standing on a little terrace under a walnut tree looking through an overgrown garden straight towards the afternoon sun which is sparkling on the Seine below them, and all looking not as it would to them, but more
mysterious, more overpowering, fuller
of space and light and colour and overwhelmingly real and harmonious.
Less explicit in their symbolism, her recent
paintings picture
mysterious, seductive
spaces that assert their own politics
of pleasure.
Among others, Stacy Leigh's deeply strange nudes at Fortnight Gallery; Nicholas Cueva's
mysterious paintings at the Brooklyn community
space Five Myles; Louis Fratino's weird realism at Thierry Goldberg; Jordan Casteel at Casey Kaplan; Maryam Hoseini's complex illuminated manuscript - like
paintings at Rachel Uffner; Nina Chanel Abney's grand combinations
of Stuart Davis and Jacob Lawrence, at Mary Boone and Jack Shainman (who's become one
of the better galleries in the world); Marcia Marcus's prescient 1970s
paintings at Eric Firestone; the teeny storefront 56 Henry mounted consecutive excellent shows
of Cynthia Talmadge, Richard Tinkler, and Kate Shepherd; personal perennial faves shone, including Cary Leibowitz, Lisa Beck, Mira Schor, Keith Mayerson, Julian Lethbridge, Betty Tompkins, Jack Pierson, Ken Tisa, Tabboo, and Ashley Bickerton.
As seen in Zito's newest solo exhibition In the Trees at Cuchifritos Gallery + Project
Space, this collection
of paintings present land escapes through a quiet investigation
of surroundings and
mysterious figures within them.
At the Quogue Gallery, she is exhibiting richly saturated
paintings with horizontal lines and angular wedges
of space that allude to imagery while at the same time remaining evocative and
mysterious.
With Parallel
Spaces Cris Worley Fine Arts opens the first solo exhibition
of Patti Oleon's
mysterious paintings.
The weird poetry he achieves in the Paradise series with a palette limited to red, black and green, is taken to even more ambitious and
mysterious realms in a larger series
of paintings which will be exhibited upstairs at London's Victoria Miro Gallery in a
space specially designed by his friend, the architect David Adjaye - a long, wood - panelled chamber, with seating for the contemplative visitor.