New York

Bill Komoski

Koury Wingate Gallery

Bill Komoski’s recent paintings look like mechanically produced images, even though their effects are achieved through the gestural acts of sponging and wiping. His brushstrokes and smears resemble the flat, two-toned gestures of printmaking, as well as the visible pull of the squeegee in a botched silkscreen. The one truly painterly moment in Komoski’s paintings is the presence of drips moving horizontally across the sides, making it clear that these works were painted on the floor. The drips instantly contextualize Komoski’s practice within the tradition of abstract painting, even though our first impression may lead us to believe otherwise.

Komoski gets a remarkable amount of light into his paintings, considering the matte quality of his acrylic surfaces and the absence of any color beside a dark blue-purple and the chalky white ground. Light seems to shine directly out of the image

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