new-york

Geoffrey Norfolk

Tibor De Nagy Gallery

What interests me in Geoffrey Norfolk’s work is the slim margin of authenticity accruing to a structural and coloristic position that otherwise can only be understood as a function of the art of the ’60s. Working with eccentric materials (metallic and leather-toned mylars) and eccentric support (direct wall appendage without intermediary stretchers), Norfolk composes within a roughly square configuration altered by two horizonlike incisions. These incisions create a tripartite composition in which the central passage is moved from horizontal to vertical. The “lower horizon” remains the sharp tabletop by which these glistening I-emblems are supported. The “upper horizon” is a function of a more graceful loping slice which, if it is to be called horizon at all, is horizon by virtue of its cloudlike association. But do not infer from these comments that the metaphor is in nature; in fact,

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