new-york

Malcolm Morley

Pace | 32 East 57th Street

Violence seems to course through Malcolm Morley’s bronze miniatures of tanks, guns, and soldiers, as well as through paintings in which explosive color, congested compositions, and radical shifts in scale veer toward chaos. The seemingly gestural paintings, executed by projecting a grid onto a watercolor sketch and painstakingly transferring the image onto canvas, depict tropical islands where things have run amok. In Gloria, 1990, highly decorated World War I fighter planes careen above a beach where oblivious vacationers frolic in the waves, in a wacky, hallucinatory vision that points to the fact that island paradises often serve as battlegrounds ravaged by imperialist aggression. In Erotic Blando Fruto, 1989, monstrous pieces of fruit dwarf the landscape and figures, and in Caribe-Afrique, 1990, diminutive dugout canoes carrying natives drift through the slats of an enormous waterfront

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