Pluralism and its heirs notwithstanding, art and criticism still reflect an ingrained absolutism. We still like it pure; we want to know if it’s a painting or a sculpture. In a remarkable new body of work George Wardlaw presents an art that eludes these categorizations, reconciling dualisms which are usually perceived as separate—male and female, logic and intuition, matter and spirit. Rejecting the pervasive Western notion that such polarities are mutually exclusive, Wardlaw’s “Doors” instead affirm the abundance and complexity of experience through the fecundity of an integrated vision.
The “Doors” are a brilliant, bastard offspring of Abstract Expressionism and Constructivist sculpture. In the tight space of this gallery they appeared initially as totemic, columnar structures, each composed of upright cylindrical and rectangular planes in massed aggregations. Their unrelenting vertical
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