Boston

Scott Grodesky

Mario Diacono Gallery

Scott Grodesky’s systematic, morosely ironic paintings investigate both the space of dystopian production and the production of dystopian space. In these rigorously nongestural compositions, each an idiosyncratic blend of figuration and abstraction, Grodesky replaces Renaissance-derived, one-point perspective with an unsettling anti- or reverse perspective. Consequently, objects seem to twist and bend, while unmoored automatonlike figures drift in the air, falling or floating up as if recoiling from a remote underwater explosion. Grodesky outlines his figures in graphite, filling them in with a brightly colored, thin acrylic wash. His application of a variety of bubbly or meshlike industrial papers gives the surfaces the appearance of texture. Overall, however, his technique is deliberately devoid of sensuality, and his canvases suggest enclosure rather than spatial expansion.

In 1994, XII,

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