New York

Richard Roth

O.K. Harris

Much, perhaps most, of Richard Roth’s pictorial idiom is familiar, yet his work merits some passing appreciation if only because the vast and free scale is striking considering that the surface is glass. The idiom at hand is high Geometrical Minimalism; the technique enamel under glass, a method generally avoided in the 20th century.

Roth’s references are geometrical. The closest and hardest picture plane is established by a clear grid system, by squares, some painted black, others gold. The spatial illusionism is a coefficient of a rigorously applied isometric perspective, the edgy paralleling of which by moments leads to unanticipated stripings. The color is hard and brilliant considering that the glass intensifies the refraction of light at the surface. This richness of sheen and intense lushness tends to countermand Roth’s otherwise depleted geometrical idiom.

Robert Pincus-Witten