reviews

Lee Hall

Betty Parsons Gallery

Lee Hall’s large acrylic and small watercolor landscapes are tissuelike, translucent, jagged-edged masses of color slipped over each other to make water-ridges and luminous peaks through the overlap. They are described by names of places—Uxbridge Hill, Providence Fragment, Rhode Island Facade—and by times and states—Night Edge, Afternoon Distance, Morning Edge Contemplation. Initially the composition of these paintings concurs with the most conventionalized imaginings of what an abstract landscape should solicit from nature: a mountainous form, a horizon line drawn or inferred, distance, light, mist, order, profusion. However, the landscape art of Lee Hall is not that of the outside world abstracted, but a form of pantheism where abstraction itself is a transcendental conception of the outside.

The paint, russets fusing into green brown into mud and chalk white underlaid with brown and

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