New York

Bruno Gironcoli

Ulysses Gallery

If there’s a single work that succinctly conveys the bizarre complexity of Bruno Gironcoli’s fantasy, it is an untitled piece in which, on a gridlike bedspring, two creatures—one dark and animallike, the other a kind of pinkish embryonic figure—vehemently spear each other. The former uses a snout of sorts, the latter a gestural spurt of white paint, issuing from its mouth like a well-aimed bit of vomit. Over the whole macabre scene an ominous coil of black paint hangs like yet another abstracted dream creature. This nasty little drama is set against a smooth field of iridescent metallic gold paint, with a few royal-purple splashes to heighten the tension. The combination of incommensurate scenic and formal elements recurs in a variety of ways throughout Gironcoli’s work. Shapes that look like machine parts vie with animal forms, loosely united by an expressively winding gesture. The

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