![]() ![]() Though in many cases the individuals are life-sized, the fact that we see partial torsos alongside full figures suggests a depth to the work that does not actually exist.Ĭolor theory figures prominently within the works. The scale of the individual figures also varies slightly within each work, simulating a separation between the characters that is belied by the flat perspective within the works. Although facial expressions are limited, the disconnect between figures is underscored by their far-off glances as they each gaze at separate points outside the image frame. The ? And He Will Live in The Background feature a trio and foursome of figures respectively, yet each figure seems adrift in his (or perhaps on occasion her) thoughts. The bodies that inhabit the works invariably seem alone even when set within small groups. While many interpretations are possible, a certain melancholic solitude rises to the fore. With characters set apart from the space around them, the compositions focus the viewer’s attention on the emotive aspects of the work. This painting technique sets up juxtaposing perspectives which renders the picture plane relatively flat, and provokes the sense that the bodies are floating, detached from any presumptive landscape. The same technique can also be viewed in Danielle, where the gray and ocher on the figure’s upper chest and shoulders match the colors that frame her face and flowing hair. The same flesh tone appears in the figure at left, but here that same color exists within the background surrounding the figure. The figure on the right, facing way from the viewer and rendered in a fleshy tone of pink, is foregrounded by a deeper reddish-pink hue that outlines the right side of the torso. An Aura, for example uses a color palette that contains varying tones of mauve, pink and red. Malone notes that the two artists constantly move the sketches around their studio, pinning them on or alongside the canvases in an effort to find intriguing combinations of figures for their full-scale compositions.įrom those initial sketches, bodies are fleshed out in charcoal on the canvas, while the colors that delineate flesh weave their way in and out of the background. Two small charcoal drawings included in the exhibition give the viewer an idea of their thought process when composing larger works. Look closely and you’ll see several figurative poses repeating and overlapping. Fleeting sketches of anonymous models created at Hillyer are brought back to the studio where Malone and Ceppetelli use them as inspiration for figures within the paintings. The anonymous figures that inhabit the paintings come from the duo’s participation with IA&A at Hillyer’s weekly life drawing sessions. The resulting paintings are imbued with nuanced layers of emotion that add a rich complexity to the visual components of the works. ![]() Where prior works displayed an abundance of jagged brushstrokes, the current body of work, for the most part, uses swaths of paint and looser, more flowing brushstrokes to impart their ideas. Though firmly grounded in the chance occurrences at the heart of abstraction, their newer works exhibited here display a tighter approach to painting than works from the exhibition Conversation which I reviewed in 2013. For their first solo show at Foundry Gallery, Duly Noted Painters are presenting a series of compositions that blend figuration and abstraction with intriguing results.Īrtists Kurtis Ceppetelli and Matthew Malone, the men behind the moniker, work in tandem, riffing off of one another while simultaneously responding to the properties of their predominant medium–latex house paint. The works dominate the walls upon which they hang, their energies pulling in the viewer to commune with the shadowy figures. The nine large-scale canvases in Model Compositions (conjunction of the figure) are awash in color combinations that at times jar the eye, delineating human forms that appear to almost float against an undefined background. Model Compositions (conjunction of the figure) installation view.Īt first it is difficult for the eye to know where to land. ![]()
0 Comments
Leave a Reply. |