Atlanta

Frances de La Rosa

Ersatz Gallery

In her recent “metaphorical landscapes,” as she calls them, Frances de La Rosa looks back across the gulf of Greenbergian flatness and its ironic revival in recent abstraction toward the perspectival Surrealism of Yves Tanguy (without the burden of the Surrealists’ psychological program). De La Rosa paints rolling hills, round-roofed huts, square farm plots, and tall rectangular buildings, with occasional swooping, phallic vegetal growths that suggest Jack’s beanstalk as they shoot up through square holes cut in overhanging, ominous clouds. These are all painted in a broadly pointillist technique and glowing colors that suggest the nervous nuclear age while recalling the luminous quality of Munch’s late landscapes.

The strongest of these recent works are very large paintings in oil on canvas. Slash and Burn, 1987, the largest piece, depicts one large “beanstalk,” rolling green hills,

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