Chicago

Corey Postiglione

Jan Cicero Gallery

The main problem with Corey Postiglione’s work is that too much of it resembles design-school exercise. Marks, hues and shapes are so exactly appropriate to each composition that Drawing Skill becomes the pervasive subject, an overall facility which tends to make a viewer disbelieve the intended effects. How can one plan a “casual” line? Postiglione’s “receding” surfaces may indeed seem to recede, but ultimately they communicate more about how agilely he accomplished that trick.

These large and small-scale, rectangular, circular, or square, chalk, pencil, or paint nonfigurative arrangements on canvas or paper all use similar elements. Wide opaque bars are juxtaposed with fast scribbled lines, thin scratches balance heavy marks, color offsets plain white space. Every sharp line has its smudge, light has its dark, opacity has its transparency, and diagonal has its horizontal. Within a square

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