Karin Davie

Turner & Runyon

Karin Davie’s work from earlier in this decade includes stripe paintings that goof on formalist rectilinear geometry with self-consciously feminizing Op-art bumps and bulges. Her series of 1993 “Odalisques” on parallelogram stretchers resemble brushy, pastel Bridget Riley paintings; the trapezoidal “Skirts” works have vertical bands that appear to swell like a pregnant belly. Davie’s body of work doesn’t exactly illustrate Dave Hickey’s essay “Prom Night in Flatland,” but it clearly illuminates some of his ideas about the masculinized discourse of Modernist pictorial space.

While Davie’s previous work made use of bent color bands to produce an overall surface pattern, the “Action Paintings” she showed last fall generate a limited sense of depth by means of an attenuated figure-ground relationship. The compositions feature big, horizontally oriented squiggles on fields of color. Often the

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