New York

Paula Tavins

55 Mercer Gallery

The recent paintings of Paula Tavins continuously seek structural clarification. Although the compositional organization depends on the use of a rectilinear grid, she feels no obligation toward the structural dictates of this grid, but uses it rather as a framework or referential guide. For example, in Revenge, she began by first penciling on a 2” x 1” modular grid over raw, unstretched canvas. She then arbitrarily brushed on a light, uneven magna wash that tended to dissolve the surface into an undefined illusionistic mass. As if to defend the integrity of the picture plane, she refers again to the grid and, with a diagonal placed through each module, designates the placement of seven evenly spaced 4” x 8” vertical rectangles. She never completed coloring these rectangles, as if impatient with the limitations of her own self-imposed system. In the final stages of the work, she loosely

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