san-francisco

Richards Ruben

Dintenfass Gallery

In an adjacent corridor, mixed media drawings (crayon, oil and oil-pastel on paper) by Richards Ruben featured stylistically manipulated studies of the nude female figure in which erogenous anatomy and erotic gesture provided the dominant motifs for highly intellectualized graphic variations including much double entendre in terms of dormant images and “field-transpositional” dual readabilities. An obvious preoccupation with the optics and dynamics of surface patterning, both in the schematic (and primarily linear and attentive) distribution of a sparsely applied, limited selection of colors, as well as in the equally schematic elaboration of linear design together with its concomitant organization of the (“negative”) surface field, impart to these drawings a character having obvious affinities with multiple-block woodcuts and color lithographs. This print-like quality is further emphasized

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