Los Angeles

Conrad Woods

Comara Gallery

Near abstract paintings worked in oil on ma­sonite of modest size. Thin washes are absorbed into the panel while richer areas, developed with the knife and brush, stand clear, sometimes explod­ing, sometimes being sucked in. These are not quite academic, though strong touches of Gorky still remain, especially in the spatial punctures and descriptive line. The paintings are from two periods, two sources of influence. One group was done following a fellowship to India (1960), the other group are the result of a recent journey to Mexico. Knowing this, it is possible to extract ethnological differences. The Indian paintings are daintier, more activated, the brush trav­els lightly. The colors tend to ochre, pale blue, gold and red. A sophisticated eroti­cism emerges. Mexico, on the other hand, is deep rust, gold and brown, the forms are heavy handed, exuding an obese sensuality, sometimes exciting, sometimes lazy. However, only a couple of the best works speak out this way. Many of the others stumble.

Henry T. Hopkins