New York

Tom Doyle

55 Mercer Gallery

Tom Doyle builds forms, he doesn’t pare them away. He works within a limited range of ideas about what a sculpture predicated upon familiar forms and usages can do, trading away the sculptor’s chance to make revelations in favor of clever handling. 

Three of the small mock-ups in the show work the twin concepts of lifting and holding, the idea of anchor. Swept planes of sheet metal (like the blades of da Vinci’s helicopter) strain to raise each sculpture from the ground to which it is pegged by an angled chunk of colored wood. 

Doyle is fond of a craftsmanly annihilation of the two-dimensional; Moebius striplike surfaces lead from one plane to another, and aspire to a victory over gravity. 

The two large pieces in the show deal with the bridge. Points of contact with the ground spring spatial exercises. The sculptures do not rest solid, they leap. In Springfield, a yellow tongue lolls from a big blue curl; both these painted fiberglass shapes are joined by steel rods to a straight-cut wooden pin which leans in the opposite direction. The work is consciously “dumb,” a sprawling synthetic shape anchored by wood—abstract sculpture walking the dog. 

Alan Moore