Little of the formidable talents that make Seuphor a significant critic and poet-philosopher seem to come through in his drawings and collages. He is tasteful and unerring in his control of the linear strata that is the basis of most of the drawings and in such small works as Commencement a genuine excitement is created when the varying horizontals are displaced along the rising diagonal. But when he increases his scope with the inclusion of color or by expanding scale, his inventive capacities seem to wear thin. As an idea the series of related framed panels are a promising extension of an inti­mate medium into an architecturally appropriate scale, but in executing a serial of six panels and another of 16 panels (Grandeurs et Lumeres) Seu­phor avoids the challenge of the mod­ules and the effect is much like over­sized drawings with a shoji-screen su­perimposed by a decorator. In all, the ideas are present, they are art-histor­ically correct, but with few exceptions, the resultant forms are calculated and lifeless.

––Doug Mc­Clellan