Dick Wray

Moody Gallery

Dick Wray draws incessantly. His notebooks are well-known among artists in Houston. They function both as Baedekers and biographies for an overall peripatetic production which ranges from the little pictographic adventures of his avian buddy, Mr. Crow, to vast, abstract baroque tirades. Wray’s large canvases, on the other hand, have always been uningratiating, usually provocative, and frequently irritating, filled with willful oppositions between delicate drawing and mucky impastos, vaporous pastels and declamatory primaries, miniaturist details and vast scumblings of matter, and rectilinear grids overwhelmed by amorphous miasmas. They have also been a ground for the staging of stylistic battles, with their resolute standoffs between elements of Kasimir Malevich’s Suprematist purity and Willem de Kooning’s gestural effulgence. In the large works, Wray has tended to submerge his own vigorous

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