New York

John Torreano

in the artist’s studio

During the 12 years that John Torreano used glass jewels in his paintings their role evolved from a collaborative to a dominant one. First employed as specific sources of light within painted fields, they gradually became the entire encrusted, sparkling surfaces of his works. Over time Torreano developed a kind of ersatz pointillism, one that incorporated the obligatory fragmentary marks of painted color but relied for the most part on the faceted planes of the jewels and their pigmentation for an optical mix in the pictures. In choosing jewels as a material he created for his work an a priori physical condition that almost predetermined style, much as Richard Artschwager’s paintings on Celotex begin with the swirls and patterns imprinted on their surfaces for their alternate allusions to and denials of expressionist brushing.

The outdoor sculpture Torreano made for last year’s Wave Hill

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