chicago

Richard Hull

Phyllis Kind Gallery

Richard Hull’s recent paintings suggest dreamy divertissements; indeed they seem informed by a sense of childlike wonder and candidness that overwhelms their mysterious brooding quality and tendency toward obfuscation. These pictures have their eerie moments, but their fundamental amiability remains unchecked.

Like children’s fables, Hull’s works frequently revolve around themes of collapsing structure and authority, suggesting that order is simply a thin veneer repressing not only fantasy and wonder but darkness and anarchy as well. For several years Hull has represented structure as images of impassive rows of architectural facades; his topsy-turvy Sienese perspective and predilection for light and easy tones make these buildings seem like bare stage sets, proscenia that remain empty and expectant. In White is the Color of Sorrow, 1990, his facades suggest both the blankness and the power

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