Chicago

Roland Ginzel

Wieghardt Gallery

From a punchout stencil, Roland Ginzel selects crescents, rectangles, triangles, and squares, places them upon a canvas, and paints them in. Each shape is set down on a relatively monochromatic field and the resulting paintings have interest beyond their individual success because each composition shows the same shapes in new relationships. To my knowledge, Ginzel has never exhibited the stencils themselves—enormous, handmade creations raised or lowered by a ceiling pulley—but they are valuable indications of the vocabulary from which he picks his combinations. The finished painted shapes continually refer back to the stencil, maintaining a dialogue between the finished work and the way that it was generated.

Frequently, in fact, Ginzel is absorbed in detail at the expense of the whole; and there often are too many shapes which function in too many ways. They work against a grid, they are

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