new-york

Harry Bouras

Noah Goldowsky Gallery

Harry Bouras’s recent show of carved and colored hydrocal and cement wall reliefs seem like rediscovered artifacts from an ancient civilization. They invite the spectator to pursue a pseudo-archeology wherein the cunei-formlike carvings covering the surfaces must be deciphered. Although they are more abstract and less readable than the body of Bouras’s work, they continue his concerns with language and diagrams of societal relationships.

In 1971 Bouras exhibited a series of drawings and pages from his notebooks about the ways in which he saw people confined in the basic social matrix, the grid. Continuing the structuring of his work into a series of compartments or openings in a grid, he used a comical phallic/mushroom-shaped rubber stamp to stamp patterns of the individual’s attempted movement and confinement within the grid. Although the mushroom-stamp gestures were seen as confined within

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