new-york

Larry Poons

Lawrence Rubin Gallery

In his new paintings at Lawrence Rubin, Larry Poons moves further away from the dot and lozenge constellations that were his trademark. A sense persists of vast imaginary places of which we are offered segments, but place’s feeling has changed, in the show’s two major paintings, from air to earth, from what often approached the spectral to suggestions of immense topography.

In a small but prominent passage in Night Journey, painted last year, Poons had already begun to deliberately alter his canvas’s surface, in this case to blister it. He has expanded this interest. The surfaces of Dangerous B and Yang-Tse seem not painted in the traditional sense but the product of a process—the apparent shrinking, through drying, of a worked-up surface. A formal result is that Poons’s configurations hover at the boundary between two and three dimensions, between area and contour, between plane and actual

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