Los Angeles

Hector Gonzalez and Wilbur Haynie

Ankrum Gallery

Gonzalez’s pictures look like Indian tapestries produced under the influence of Adolph Gottlieb. Mainly monochromes crammed with pictographic symbols stained into the canvas fabric, they are both sophisticated and tasteful as decor. As to their meaning—one does eventually read through their fabric-design surface to persistent either or symbols. Whether these denote I-Thou, He-She, or Yin-Yang, is problematical. At any rate such compulsive tendencies as prompt us to search all art for meaning leave us, in this case, vaguely embarrassed—as if we had foolishly expected a lovely Vogue model to deliver the Sermon on the Mount.

Wilbur Haynie’s paintings look a lot like those of Lorser Feitelson and Helen Lundeberg. There is the same richness of color in broad swaths, the same large areas of flat hue that achieve bigness by seeming to run off the canvas. Haynie’s pictures are distinctive in that they are more totemic than Lundeberg’s landscape-oriented imagery, and more blunt than the sensual refinement of Feitelson’s curving edges. Altogether Haynie, in color and form, is jazzier and heavier of hand.

William Wilson