New York

Sylvia Mangold

Fischbach Gallery Uptown

The fitting of representational subject matter into an abstract mode of thinking is more successfully resolved in Sylvia Mangold’s new paintings. As in her previous works, Mangold objectively renders the recession of hardwood floors inclined upward onto the vertical picture plane. What is different is her positioning of an oak-framed mirror where the floor meets the wall; a mirror which reflects the space in front of the painting and ostensibly behind the viewer. The result is a disorienting transgression of painting’s illusionistic space into real space. There is a sensation of actual presence within the depicted room. Yet this feeling is more a conceptual awareness of space than a trompe l’oeil deception. Mangold makes one question how one defines space, how one orders the perceptual data given in the sensory experience. Her paintings provide visual clues to be deciphered—the reading of

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