new-york

Richmond Burton

Matthew Marks Gallery

Richmond Burton confronts a by now familiar issue: the reconciliation of the field of seemingly spontaneous and hopefully grand gestures with the fixed structure of the grid. He resolves this dilemma in a new if not completely unprecedented way. The problem is to fuse contradictory means: to achieve the engulfing effect of alloverness without rendering the stasis of the decorative deadening. That is, the painting must seem to expand beyond the canvas, so that its abstractness seems unlimitable—a surge of alternative vision, with the inner recognition of primary process (what Husserl called inner time consciousness and Bergson called duration) as a ripple effect. If this elated visual complexity does not emerge from the “stereoscopic” integration of gesture and grid (the double technical dimension obliquely corresponds to the double dimension of the effect) each tends to fall flat. The

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