new-york

Harvey Quaytman

David McKee Gallery

By itself, the cross at the center of Harvey Quaytman’s recent compositions implies solidity and geometric order. But the cross sits in front of what seems at first to be an unstable interweave of forms. On closer examination, though, this apparently shifting scenario turns out to be fairly consistent: behind each cross is a single tall rectangle, which is flush with the left edge of the canvas. Wedded in this way, cross and rectangle sit before a more or less uniform background, most often white or black. The square format of Quaytman’s canvases further emphasize the play between stability and disruption. In two pieces Quaytman has butted together two square canvases to make one long horizontal, but these underscore the essential order of his schematic structure: in each case, only the left half bears the cross and rectangle, with the right half painted a solid echoing color.

This simple

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