Albert York


As if you care a damn, there is the geranium green of the leaves, the almost cinnamon tint of the flowers, echoed in the small soft bird’s cap, the forlorn dead leaf, the muted cornflower blue of the pot with darker shadows. Geranium in Blue Pot with Fallen Leaf and Bird, 1982, depicts what its title bluntly announces, but with a seemingly unobtrusive difference. The wood panel of the support shows through along the edges, at the leaves’ curving limits, on the “horizon” between what might be earth and sky or table and wall (and is both earth and sky and table and wall—all almost splintering, grained), as if the actions that brought the painting into being were somehow barely enough to keep the work from reverting to its constitutive parts of oil paint and blank wood panel. The indecision—undecidability—of interior or exterior in terms of something that is painted suggests other confrontations

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