new-york

Graham Gillmore

Kenny Schachter Contemporary

Graham Gillmore’s current work seems to come in two visually distinct types. First, there are those paintings made up of casually modeled words and phrases linked by an intestine-like labyrinth of thought bubbles; these red and blue lines elaborate the innuendo and potential that create each work’s particular sense of drama. In I will you won’t, You do I don’t (all works 2003), variations on the phrases “I won’t I will” and “you won’t you will” vie for our attention in a sort of distillation of erotic gamesmanship. By the time the viewer reaches the lower righthand corner of the work, the standoff has poignantly devolved into a messy pileup of humiliation and defeat, as the word LOST settles at the very bottom and AGAIN crawls up one side.

With this format, Gillmore is able to engage and critique a variety of sensual and societal circumstances. In Republican Club, a tangle of “cheers,” “

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