Cross-Cut
Ed Moses at Christopher
Grimes Gallery
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The swashbuckling lines
read across and back down the canvas as two stanzas with a sort of notation
at the bottom (Rask). This is the key work as you watch the strings
flung on the canvas laden with paint expand with haloes into larger and more
intricate compositions, if you will. The open planes are like a book (#1
Branco), the whole thing (acrylic on canvas or panel or Mylar) is
formally akin to Charles Arnoldi in a way and suggestively to Edward
Ruscha’s letter-paintings, but more along the lines of a Bauhaus
musical analysis, to stretch the metaphor. |
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