Within each of Juan Uslé’s paintings the artist’s hand seems always present—one can sense the speed and rhythm of his brush and whether purposeful or not, variety is endemic. Sometimes brushstrokes form a concentrated island of intensified activity without obvious regard for overall unity. This exhibition comprises paintings varying in size and emphasis—the smaller ones are compact, the larger ones expansive. In Vanguard Manthis, 2011, some six feet tall, the paint implies a movement of the brush that frequently stops and starts, heading impulsively in different directions. In Sone que revelabas (Yukon), 2012, a similarly large work, continuing short horizontal movements of brushstrokes seem obsessive and willful. In contrast, one of the smaller works, In kayak. Constructor de imagenes, 2011, which measures just shy of two feet long, is composed of horizontal lines all in close proximity to each other; packed in shallow space consisting of gray, green, black and white elements, these lines seem to pulse. What is extraordinary is the similarity in composition between Sone que revelabas (Yukon) and In kayak. Constructor de imagenes, even as the change in scale emphasizes differing quantities or amounts. This seems the central quality of Uslé’s complex accumulations.

— David Rhodes