San Francisco

George Miyasaki

Lanyon Gallery

Mi­yasaki is a young (28), very good and rather well-known lithographer whose major interest is in rearranging forms and motifs derived from landscape. His windows, circle-sun shapes and repeat­ed horizontals are frequently combined with pictographs and lettering. In this way, he incorporates symbols of the man-made into his landscapes. Although many of Miyasaki’s lithos and colla­graphs contain faint pastel shades, the colors work within a concept of hue that is essentially black and white. There is none of the gimmicky “how-was­-this-print-made” about his work. His technique creates his statement, but never upstages it. Miyasaki’s prints are beautifully crystallized and personalized images of great delicacy and evocative power.

However, when Miyasaki tries to trans­fer the imagery and technique of his prints to canvas, the result is far less successful. Some of his paintings are badly unresolved. The pastel tints fade into a sticky off-white mass in which his forms occasionally get buried. The nubby paint surface and the collage reliefs, used in sections of his can­vases, are not proper substitutes for the filmy, intricately grained surfaces of his prints. Miyasaki does not yet think like a painter. If he were to stop treating oil painting as an extension of graphic method, he might get closer to the kind of feeling that he handles so well in his prints.

––Joanna C. Maglott