new-york

Moira Dryer

John Good Gallery

Because of a certain duality of intent, Moira Dryer’s work has always exhibited conceptual fluctuations. She is too intent on playing with format to be a “painter’s painter,” but at the same time she is intimately connected to the emotive and esthetic concerns of Modernist abstraction. Her practice alternates between a timely critique of the medium and a will to render a pictorial space devoid of reference. Several of her paintings encompass this duality in the most thorough manifestation of her own sensibility to date.

Several of the paintings in this show—such as Fingerprint #2647, Portrait of a Fingerprint, E.K.G., and Pink, all 1988—feature a thin panel of wood mounted a few inches in front of the wall. This levitation of the picture plane causes Dryer’s washy images to float in front of a border of cast shadow. Pushing the flat surface out in this way, Dryer lends her work a sculptural

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