Los Angeles

Clark Murray

Nicholas Wilder Gallery

A pervading feeling that much recent reductive geometric work echoes the spirit of arbitrary adventure found in post-Cubist developments of thirty to fifty years ago is again reinforced. That Murray is au courant is as obvious as his less-than-tenuous links with Malevich’s Suprematism.

Murray’s paintings, metal pane is braced at their edges, are shaped canvas substitutes. Each is sprayed a single color of automotive lacquer. Large, dominating the wall, the oblique quadrilaterals are angled diagonally like a remarkable accent or exclamation point. The premise that a painting is an object is fully accepted, the requirements fulfilled. The basic shape is reversed and repositioned upon various corners to achieve the five variations. These positions are arbitrary and subject to change. With the widest dimension and visual weight at the top they float or hover against the wall. They soar upwards

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