San Francisco

Group Show

Lanyon Gallery

A continuation of last month’s group show, with individual replacements as pieces are sold or loaned. Keith Boyle, Geoffrey Bowman, George Miyasaki, Tom Holland, Kishi, and sculptors Charles Mattox and Robert Hudson, from Lanyon’s regular stable of artists, are represented, along with an intimate little wall show of delicate prints by Ryanosuki Fukui.

Boyle’s new direction seems to be toward brighter hues and harder edges, although he was never known for muted color and fuzzy shapes. Bird Feathers, his special offering here, keeps the bird in a green and embryonic condition, but the brilliant tropical colors are exciting. His titles mean as much, or as little, as one’s experience reads into them, but he does title them.

Kishi is also changing, going through a subtle evolution which calls for a more linear approach without sacrificing the eloquent space that has so far characterized his work. There is no negativism in his attitude; he has simply mastered the exacting ratio in size of dark shape to ground. Vibrating white canvas and rich blacks, browns, reds and yellows challenge each other just enough to evoke a stimulating emotional response. As a Japanese, Kishi inherits a feeling for the effective use of space for just this purpose. He uses it to advantage.

George Miyasaki, a Hawaiian-born Japanese, also leans on a national tradition, probably subconsciously. Kishi’s work is reminiscent of screen and scroll painting—the flat-surface tradition of decoration. But Miyasaki’s slab shapes bring to mind ancient Dotaku, monolithic stone sculptures, lamp stones and structural details of old architecture, blending and amalgamating them with 20th-century American pop culture. Both seem to find the big round circle indispensable as a design element.

Fukui’s little nature prints of sand-hills, sea, plums, pansies or an almond, are inordinately beautiful. They involve both stencil and plate printing, with waxy, translucent colors into which line is scribed with great sensitivity. And an economy of detail which reminds one of the famous “Kamakura bulls.”

Elizabeth M. Polley