Teresa Cullen

James Baird Gallery

Teresa Cullen’s painterly surfaces seem simultaneously to explode and engulf the objects she depicts. Cullen uses color to intoxicating effect: rich browns, smoldering oranges, whites as pale as translucent skin.

Color in her paintings exceeds the boundaries of objects—or the objects’ like solar cells, absorb and intensify ambient color. In Time’s Backyard, 1992, for example, white forms hover on an earthy grayish surface grazed with flame-colored yellows and sky-blues. The objects seem dematerialized—both time-worn and ethereal—but the surface that engenders them remains tactile and sensual.

In the earliest work in this exhibition, Remnants and Traces, 1990, the objects are massive and have an appealing awkwardness. A huge, gawky white pitcher and bowl, smudged with red, loom on the palest of gray grounds. Since that piece, Cullen has increasingly purified her forms, honed their edges and

to keep reading

Artforum print subscribers have full access to this article. Please sign in below.

Not registered for Register here.

SUBSCRIBE NOW and save up to 65% off the newsstand price for full online access to this issue and our archive.

Order the PRINT EDITION of the November 1993 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.