San Francisco

Todd Miner

Lawson de Celle Gallery

A similar concern for texture and structural delineation occurs in Todd Miner’s paintings. Working in small ragged-edged rectilinear formats, Miner sews and presses ephemeral materials into tightly compressed compositions. Gauze, vinyl and miscellaneous paper scraps are organized by threaded patterns that unify these diverse materials and divide the surface into a system that appears simultaneously free-form and geometric.

Each work has an overall stained color, usually wine or parchment, that refers to the origins of the found material. The artist accentuates the composition with more synthetic colors, developing a sense of depth and form by the selective placement of these hues. In his use of color Miner gives the material an increased sense of presence, adding a necessary note of complexity to the work.

Miner circumvents the clichés of pressed paper and the collage genre by avoiding the blatant or literal in his selection and presentation of material. Even when he utilizes objects that are recognizable, such as postage stamps or fragments of vinyl upholstery, he never panders to sentimental or direct associations that might evoke a nostalgic response. Nevertheless, the artist does consider certain associations, for his paintings are undeniably reminiscent of peeling walls and the gutter residue of an urban milieu.

Although these works are small, and of course fragile in their material and construction, they give the impression of great solidity. Miner’s compositions are a response to the environment: works in which artistic perception is a transcendent reflection of the mundane.

Hal Fischer