london

Michael Craig-Martin

Rowan Gallery

Michael Craig-Martin’s last comparable show of large-scale drawings (again, projected from slides onto the wall, and then drawn in directly with the black tape) looked like Al Held’s compiled with household articles instead of with plain geometric figures. The drawings were spatially ambiguous and relied heavily on the fact that everything was drawn openly on top of everything else with no regard for the relative scale of the objects depicted. The white of the wall (like white paper in linear drawing) accommodated both the internal forms of the objects and the spaces between them. Craig-Martin, in his latest series “Reading” (all the images contain books, among other things), makes use of the relative sizes of, say, a light-bulb and a filing-cabinet to introduce a more “believable,” consistent space. One can’t see through the various objects so there’s no sense that the viewer is becoming

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