new-york

Paul Frazier

Fishbach Gallery

Paul Frazier’s new work gives a fascinating view into this dilemma. Frazier’s solutions attempt to refute the cardinal feature of minimal structure—an unwavering Euclidian frame of reference. Employing hollow planar forms, the sculptor attacks the equidistant, congruent, symmetrical planes of the minimal mode in favor of organic crystalline arrangements in which each separate face takes on eccentric trapezial configurations. Moreover, Frazier is intrigued by the theme of the staggered form, not unlike a slipped layer of schist or crystal. This salutary attempt to lighten the tyranny of purely equal planarity creates tense and provocative forms which are seemingly frozen in mid-slide.

The seamed or shifted motif had appeared earlier in Frazier’s handsome pieces. About two years ago he had already experimented with this notion, additionally vivifying it chromatically by painting his forms in

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