New York

Chris Wilmarth

Rosa Esman Gallery

Chris Wilmarth’s recent hanging sculptures and studies on paper allow a categorical interest in the properties of materials to sustain an assertively painterly but not extrinsic surface handling. The four sculptures shown recently are reliefs, somewhere between freestanding independence and an altogether wall-bound planarity. If they relate more closely to the plane of the wall than to that of the floor, they nevertheless do so against a formidable gravitational pull. Further, they break down categorically into those which lay a square plate of glass over a square metal plate versus those which combine two squares of glass. Either way, the facing glass is etched to a nocturnelike softness that holds hazily to rectangular form by its involvement with surface. Drawings in graphite and watercolor relate sensitively, in turn, to the sculptures.

At Wilmarth’s 1972 show at the Paula Cooper Gallery

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