Los Angeles

Andrew Staley Wing

Wooden Horse Gallery

Andrew Staley Wing uses Liquitex Acrylic Polymer Emulsion, in a technique he evolved after studying the works of the High Renaissance, with concentration on Titian. The fluid nature of his medium allows a free, easily flowing surface quality. Combining the free-flowing technique with a scumbling of color, Mr. Wing evolves what he calls environmental paintings. That is, these are works without direct reference to material objects or scenes, but pieces that generate an atmosphere of their own. The work “Precipice, 1962–3” plays red-brown and black shapes, the aftermath of a carefully calculated splash of color, against a pale green and white stumbling. An anthropomorphic mind could certainly envision animal or insect shapes rather than a geological one as the subject. This ambiguity, this allowing of the viewer to envision his own subject in the work is probably one of the outstanding qualities in Mr. Wing’s work. “Invoid, Fall, 1962” uses the red, brown, and black colors against a creamy-white stumbling. All of the works are essentially nonobjective, handsome, and evocative. A particularly handsome large work “Homage to Monet, Fall, 1962” uses greens overlaid with white and black.

The exhibition overflowed the gallery into a precipitous back yard, where a number of the larger works more than held their own against a background of eucalyptus trees, flowering vines, and the Pacific Ocean, which was competition indeed. Other works which stood out included “Seaford, Fall 1962,” “Hill-Stream, Fall, 1962,” “Sea Canyon, Fall, 1960,” and the rather cumbersomely named “The Hole Whirled/The Whole World/The Whole Word.” The entire exhibition deserves mention; Mr. Wing’s work as shown here indicates a man fully committed to exploring his own vision, his own world in a handsome, unique manner.

H. W. Weeks