new-york

Rosemarie Castro

Tibor de Nagy Gallery and Hal Bromm Gallery

Rosemarie Castoro’s “Shrines” seem to be involved in an ongoing crystallization, angling now to the left, now the right, pulling upward, then downward in serpentine cascade—which accounts for their sometimes cockeyed balance. Facets reproduce themselves in obedience to some shifting force field, some attraction capable of raising cubed hackles on the back of a sheer cliff face, dimpling the unexposed side. These grottoes seem to have arrived, if incompletely, rather than been made.

In fact, they are objects of emergence in another sense: these cocoons are empty. The shrugged-off carapace of the body/organism was important to Castoro in her “Flashers” series, some of which were simultaneously on view at Reade Street Park. But these new structures allow for more oblique figural hints, a new span of “literary” allusions, and more formal permutations within the set. Castoro pits an imitation

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