Los Angeles

Tom Eatherton

Pomona College Art Gallery

Formalist environments, on the other hand, seem unburdened by literature and function with an almost automatic significance engendered by the purity of the piece. Tom Eatherton’s Rise the last environmental work in a series commissioned by Hal Glicksman before he moved on to the Corcoran, is a case in point. By means of a small passageway, one enters a darkened oval room with its curved walls adumbrated by a bluish-white backlighted CinemaScope-like “screen” of translucent cloth. The visual-kinetic illusion, which, besides a general and welcome peacefulness, seems to be the whole point of the piece, is that the floor rises at either end: when I walked toward the black “door” opposite the entrance, I had Installation view, Edward Moses exhibition, Mizuno Gallery, Los Angeles the eerie sensation I was walking in the floor, up to my knees. The world in Rise is singular, with no extraneous objects and no outside sensations disturbing its purity. It’s a good, tailored one-shot.

Peter Plagens