New York

Thomas Evans

John Bernard Myers Gallery

If Baranik’s decided emphasis on ethical content forces consideration of expressive power, Thomas Evans’ lyrical painterliness provokes reflection on an involvement with decorative surface much in evidence in current painting. Evans paints large canvases bespeckled with splatters of metallic paint, in the midst of which, patterns reminiscent of prehistoric organic remains (fern leaves, for example) seem to be imprinted. Seem to be because, while from a distance the overall regularity of the fragile shapes makes them appear stenciled on, on closer inspection the bleeding trickles of paint at their edges indicate a controlled pouring technique. Basically Evans’ paintings are monochromatic with tiny dots of variant hue effecting a scintillating surface. The fossillike design is lighter in tone, thus reinforcing the figure-ground opposition set up by the different painting techniques. This

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