Douglas MacWithey

Barry Whistler Gallery

The formal variety and disparity of Douglas MacWithey’s sculptures and drawings reveal his preference for a flux of unresolved meanings. Rife with paradox, MacWithey’s works refuse the finality of narrative resolution. While his metal sculptures, exploring opposites such as open versus closed, are sparsely minimal, his drawings are contrastingly baroque. These works are covered with delicate botanical images, randomly placed strips of clear tape, and cramped, barely legible stream of consciousness writing.

MacWithey’s concern with flux is evinced in individual works. The austere series of bare-bones sculptures, “An Hollow,” 1990, consists of tall, thin, wall-mounted sheets of partially rolled metal that expand and contract in space. Typically, two sheets are abutted and wrap around one another, and the open hollow of one sheet closes, just as the conjoining hollow of the other sheet begins

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